Tag: USB

Native Instruments has always lived up to the expectations of people in providing great software. But today, they are also becoming more and more popular for creating great hardware, especially when it comes to computer audio and USB audio interfaces. And with their latest product, the new Audio 2 DJ USB 2.0 Interface, they are about to prove themselves great once again.

The Audio 2 DJ will surely feed any digital DJ’s craving for high quality, extremely mobile audio interface whether they are using TRAKTOR or other DJing and performance software. Native Instruments did make a statement with this one – it is the smallest DJ USB soundcard in the world, BUT still has the enough punch to shake the world’s biggest clubs down.

Struggling entry level DJs who are looking for the ultimate portability possible for an audio interface without compromising audio quality will find their prayers answered with the Audio 2 DJ. And if you are a digital DJ who does not really need audio recording or time code control, then you got everything that you need with the Audio 2 DJ.

One great thing about the Audio 2 DJ is that, you can practically hook it up in any computer as long as you have a USB 2.0 cable. Its two quarter inch output channels also provides flexibility since it can either be used to route stereo signals to an external mixer, or as a master out and headphone monitor when using the internal mixer of your existing performance software. All you will need is your laptop, and the Audio DJ 2 USB 2.0 is good to go!

If you are thinking that because it is so small, it must have cut its corners in the sound quality department, well you are wrong. You will be amazed that Native Instruments guarantees super high end Circus Logic AD/DA converters. That means you get ultra low latency drivers, hi gain output levels (reaching up to 9.7 dBu on both channels) as well as ultra wide frequency response despite the extremely portable size of the Audio 2 DJ! So, even when you are holding the smallest USB audio interface in the world, you will get uncompromised sound quality and clarity with every detail of your music.

Size is not an issue with the new Audio 2 DJ USB 2.0 Interface from Native Instruments. Having a size no larger than a deck of cards, this bus-powered audio interface literally fits in a pocket and still can accommodate even the most demanding club systems. It houses a new balance of quality, size, and price. So go and get the Native Instruments’ Audio 2 DJ USB 2.0 Interface, today!

The question I am most often asked is whether to buy the Blue Yeti USB microphone or the AT2020 from Audio Technica.

The Yeti and the AT2020 occupy the sweet-spot in terms of price, quality, functionality and quality so deciding which is the best USB mic comes down to you personal preference and how you intend to use the mic. Both are mid-priced mics, and both mics plug into your USB port and offer professional quality recording.

The Blue Yeti USB mic is the top-of-the-range offering from Blue microphones. It’s a large, quite heavy mic which is perfect for desktop or studio use. It’s solid and sturdy however it reduces the portability therefore if you have to have a lightweight unit to cart around, the Yeti perhaps isn’t your best option.

The AT2020 from Audio Technica is a more compact unit that is a bit more expensive but it is a bit more versatile for road-warriors. It’s also far easier to find a shock-mount to fit the AT2020 which greatly reduces background noise.

Portability
The yeti is industrial and robust whilst the AT2020 is sleek and light-weight. Should you want portability, the AT2020 wins every time

Sound quality
The Yeti and the AT2020 both have classy sound quality and adds a deep richness to just about any voice and they also both pick up the warm tones of an acoustic guitar perfectly. It is difficult to split the difference in quality of sound but the Yeti has 4 different recording modes based on the sound source so just pips the AT2020.

Ease of Setup
After I purchased my blue Yeti, I was recording in a minute of opening the box. I simply plugged in the mini USB and connected it up to my iMac. System preferences appeared and I selected the Yeti for input and output. Boom – ready and recording in 30 seconds!

The AT2020 is also simple to get started but I’ve never set one up personally so it would be unfair of me to comment. We’ll have to say it’s a draw.

Latency
There is a noticeable lag with the sound of the AT2020, as the sound gets processed by the sound card before it’s fed back to the monitor headphones. This echo can be quite distracting. You will find some premium software available to help rectify this but with the Yeti, there just isn’t a problem. There is a headphone monitor port directly in the microphone so the monitor is one hundred percent real-time. It’s warmingly haunting to hear your own voice in your headphones sounding so full and rich.

Features
On paper the specs of the Yeti are far superior. It’s the only officially THX certified USB mic on the market and has 4 recording settings to pick up sounds from various directions as needed. In the omnidirectional setting, it’s great for recording a live session with a few musicians in the room playing at the same time. The At2020 isn’t as versatile with only the cardioid setting available but it’s no wallflower either. The Yeti gets another point on this one.

Accessories
Both microphones come with a stand with a small base, so they both work well if you’re working at your desktop, recording a voiceover or podcast. But if you’re recording screencasts or typing during the recording, both micas will pick up vibrations from the desk.

That’s where the AT2020 comes into its own simply because it’s a lot easier to locate a shock mount which fits. The yeti is simply too big for any widely available shock mount.

The best way to take your recordings to the highest level is to use a freestanding microphone boom. They both have standard mounts allowing you to use any microphone stand, and if you would like the adjustability of an “anglepoise” swivel style mount such as the rode PSA1, then both will work fine. Keep in mind you will need a high tension mount to counterbalance the weighty Yeti.

Just like most microphones, the Yeti and the AT2020 would be improved by adding a pop-filter to take out those popping “p”s. Blue microphones have their own pop filter but I’d recommend a plain pop filter that will save you 10 or 20 bucks.

The AT2020 comes first on accessories just because it’s easier to purchase a shock-mount to fit. But it is a close call and definitely depends upon what you require.

The Final Verdict
We have got a tie with 3 1/2 points each to the Yeti and AT2020.

And so it really depends upon what you want.

If the lack of portability isn’t an issue for you and you don’t need a shock mount, in my opinion the yeti is the foremost USB microphone available.

If portability is essential than audio flexibility, then i suggest the Audio Technica AT2020.

Car audio” is a term that refers no doubt to the sound system in your ride, be it a van, car, or truck. To some people, car audio is very much part and parcel of their car as a whole. Some even try to make a casual estimate of the car’s worth by checking out the specifications, features and company of the car audio. Some cars have stock car audios designed for the vehicle by high-quality makers while some prefer to have specially built car audios, i.e. any audio system simply won’t do if it is not from a car audio of the company they have come to trust through the years. Behind any auto audio system are the acknowledged essentials, namely: a radio/FM, and a CD/DVD player. Such a system is nowadays expected no less to be able to support widely used formats such as MP3, WMA, CDA, etc. Up to date car audios also boast of catering to USB, Wi-Fi and Bluetooth connectivity fans.

A good car audio is known as the default and the through-and-through solution when it comes to dealing with the staples of fatigue and boredom which go hand in hand with long-haul trips. When you have a good and trusty car audio with you, time simply flies, and is at best, some sort of distraction. A versatile car audio can be counted on when users want to stay wired to the latest headlines, events and traffic updates as well as their favorite programs on the radio.

These days, the car audio market is in the middle of shifty ground when it comes to quality and demand. Technological boosts and advances in the car audio segment not only lead to the better quality of even off-the-shelf car audios, but also eventually mean considerable leaps in the volume of car audios sold. A competitive crowd of players are now out in the market and all struggling to get the most attention by touting high quality playback and enhanced bells and whistles.

Discerning audio lovers nowadays try to get the best possible value-for-money in-car entertainment. High end audio equipment–with makers like Blaupunkt, Sony, Alpine, Pioneer and Kenwood–sure to meet the demands of the strictest audiophiles helps the various competing brands to stay razor-sharp and keeps the market stocked with quality.

So do you have the car audio unit all cut out in your mind? Is it equipped with basic speakers and signal processing equipment, or is something in you screaming to still go for extra speakers, subwoofers, amplifiers and tweeters? As the features-wars continue, company-makers also thrown into the package perks like amplifiers and speakers to their car audio kits. But how do you know if you got in front of you a good quality car audio? Check and double check that it must be able to play unwavering and skip-free tracks while the car is on the go. Let’s face it, these lives and times are spoilt for choice when it comes to picking a car audio system from the myriad of options available, whether online or just around the corner. But always keep in mind to steer clear of buying unbranded and substandard car audios that will pile up problems and costs on you much later on.

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