REVIEWS

TECH SECTOR
SIMPLE EFFECT ROUTING > Dry/wet faders allow external effect units to be inserted on each channel.
DYNAMIC CONTROL > New Auto-Gain technology normalizes volume levels between all three channels.
PRECISION FADERS > Four Penny and Giles faders allow for smooth, fluid level adjustments and crossfades.

RANE EMPATH

AUDIOPHILE PERFORMANCE MIXER

BY DAVE HILL JR.

During the past 20 years, Rane has been building its reputation one rackspace at a time. DJs such as Paul Oakenfold, Z-Trip and Moby stake their reputation on Ranes sound and swear by the quality of the companys components. In a move to bolster its swelling reputation, Rane recently held court with one of the founding fathers of hip-hop and turntablism, Grandmaster Flash, to optimize the design and feature set of Ranes newest baby, the Empath mixer. Empath, short for empathy (for the performing DJ), is a new direction for Rane and is designed to pick up where Ranes TTM line left off. Empath is geared for both traveling DJs and leading-edge clubs that require a truly scratch-friendly instrument and a versatile performance mixer.

PRODUCT SUMMARY

EMPATH > $1,199
Pros: Excellent cue, output and internal signal-routing flexibility. Handy Auto-Gain control. True stereo effects loop. Universal power scheme. Signature Rane sound. Cons: No XLR mic input. Effect loops takes some balancing. No mono effects. No individual-frequency high, mid, low EQ kills. Contact: tel. (425) 355-6000; e-mail info@rane.com; Web www.rane.com

STEPPIN OUT

Empaths general layout will remind you of many 3-channel mixers, with some interesting exceptions. For starters, Ranes contour adjustments for channels 1 and 3 and the crossfader, located on Empaths front panel, will pique the interest of the most finicky deck-wreckers. With those magical little knobs, you

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can adjust the accelerated slope (approximately 1 through 10) of your personal fader grades. This means you can make your crossfader and two main channel faders as gradual or as steep as you like. Incidentally, these knobslike all of Empaths black rubber gripsfeel like butter. Their white indicator stripe is easily visible in a dark club, and I found no sticking or harsh slips. In similar fashion, the four Penny and Giles faders provide zero resistance. Moving on, each of the three main (phono or line) channels have separate gain, panning and
EQ (low, mid and high) knobs. The gain is 12 dB, and the EQs range from off to +6 dB for each band. Two thin metal switches are present for each channels full EQ kill and phono-versus-line selection. Each channel has the option of being routed to A, B or A+B sum with the flip of a tiny metal switch. This channel surfing makes it a breeze to redesign your routing on the fly. You can flip channels from A to B and back again, combine channels and add a microphone and effectsall during a single performance. Also, Rane has supplied effects-level minifaders (wet to dry) for each channel, including the microphone input.
Empaths rear-panel routing provides gold-plated RCA phono and line inputs, 14-inch unbalanced TRS stereo send and return jacks (called FlexFX) and a balanced TRS microphone input. Outputs include stereo XLR, 14-inch balanced and standard RCAs. The Empath mixer can be mounted to a rack with provided screw indents, but if you are going with a tabletop or coffin setup, you will need to use the included rubber feet to keep the mixer from sliding around. It should be noted that the Empath is an excellent size and weight for portability, weighing in at about 9 pounds. The unit measures 10 inches wide by 13.5 inches long by 4 inches deep and will easily replace most

Passing the Bar

Remix asked New York Citys Friday night Polar Bear Club DJ crew, which includes Timeblind and his clan of nameless vinyl experimentalists (who can be better uncovered at www.crucial-systems.com), to put Empath through its paces during their weekly gig at Tonic (www.tonic107.com). A lot of mixers work well for only one style of mixing, Timeblind says. I found that the Empath worked great for scratching and cutting, and then I could change the speed [curve] of the crossfader when I wanted to do slow blends. The A/Off/B switches on each channel let you easily set the middle channel to one side of the crossfader, do the mix, then put the middle channel on the other side of the fader to mix over to the other turntable. This is a good option for meI always have three sources. [The A/Off/B switches] also worked great for crab scratching when that was on the right-side table. One drawback, however, is that there are not individual kill switches for each frequency. Still, these EQs sound incredible and are very musical. I had a blast. The opening DJ played a simple blend of dub, roots, rock and break styles with some scratching and effects. He summed up his first Empath gig with the following: This mixer is made for DJs who want more flexibility in the clubs. After a couple minutes of guesswork, I sorted out the x-fader assigning and other stuff relatively easily, though the [channel] assignment switches were a little too small. I would also point out that the Empath lacks [individual] kill switches for the highs, mids and lows, which was a bit of a drag, though it was nothing that couldnt be handled with some fast hands and a little practice. It appears [that Rane] has opted for more musical EQs that can be killed at once or manipulated gradually. Overall, Id say this is a powerful and excellent-sounding board that I could take better advantage of the next time around.

REVIEW > EMPATH

house mixers. Other advantages include the use of a typical three-prong 100 to 240 VAC standard power cord, as opposed to a wallwart plug or hard-to-find adapter. If you are a CD DJ, Empaths two assignable CD triggers can commence playback on any CD player with fader-start ability by simply bringing up the channel volume. Most modern Pioneer, Gemini, American DJ and Numark CD players can do this. Cueing your mix with Empath is as flexible as it gets. Each channel sports a Cue (in or out) button next to the previously described channel selector. You can individually monitor channels 1, 2 or 3; aux inputs; and returns. In the middle of the mixer, a prominent cue selector switch provides the option for A, B or Cue-button-selectable monitoring that can come in handy in the heat of a delicately balanced mix set. For instance, you may be playing channels 1 and 2 simultaneously with the crossfader dead center (between sides A and B). To monitor the third channel (with the fader down), simply depress the Cue button with the master cue selector in the middle position, and you can cue up the mix. Other thoughtful cue features include a Split (cue and main output) button and another minicrossfader for fading cue mix to master mix. These allow for better mix blending and even

AUTO-GAINCONTROL

0 -3 -6 -9 -12 -15 -18 Input Level Decreasing -21 -24 -24 -21 -18 -15 -12 -9 -6 -ON OFF

Input Level Increasing

AUTO-GAIN > The Auto-Gain works with no noticeable influence on the sonic shape of the music. This graph shows the signal leveled proportionately, or normalized, by the amount of increased (red line) or decreased (blue line) gain in the true signal.

66 REMIX MARCH 2003

more discretionary cue monitoring. Both 14- and 18inch headphone outputs are provided and can be used simultaneously. Rane has also included a useful headphone EQ with sunken low- and highfrequency sliders for tuning up your cans. After all, shouldnt you enjoy your own mix set?
AUTO-GAIN IN THE MEMBRANE
Ever fade-in the monster cut only to discover that your headphone cue level is too hot, thus creating a false sense of audio security? The dancefloor ceases to gyrate. Heads fail to nod. Oh, boy, is it gonna be a long night! Ranes new smart AutoGain technology attempts to correct all of that by normalizing each of Empaths input sources. In testing, I determined that when Auto-Gain is turned on via the upper-left toggle button, all three channels sound at approximately the same volume. This can be a lifesaver when working with several different kinds of sources or low-level recordings. For example, an MP3 player may have a limited output level when compared to a preamplified turntable. Other tracks may just be mastered hotter (that is, louder) than others and therefore jump out of a mix without the Auto-Gain activated. Note: Empaths Auto-Gain takes action at the cue point after the phono/line source selection, after the gain/trim and EQ but before the channel fader.

BACK PANEL > In addition to standard I/O connectors, the Empath also includes two CD trigger jacks.

EFFECTS ON THE DECKS

Although effects and DJ mixers seem like natural counterparts, manufacturers have struggled with the logistics of how to integrate aux sends and returns and not crowd the controls. With Empaths FlexFX sends and returns, I patched in several different effects, including a Line 6 DL4 Delay Modeler with both stereo sends and returns. Via Empaths dry/wet faders, it was relatively easy to apply the effects. The two comments I have are that Empaths FlexFX send and return do affect the gain more than typical effects chains I have worked with. Also, there is no 14-inch jack for mono effects, like for a single-plug guitar effects pedal. (You know, the kind easiest to tote to a gig.) The logical thing for Rane would have been to include a left (mono) selectable plug like most guitar pedals have. Wrapping up, the Empath mixer is indeed sympathetic to the needs of DJs without getting too style-specific. This unit sounds incredibly full and natural, due in no small part to the four Penny and Giles faders and gold-plated patch plugs. The standard power supply and rock-solid chassis prove beyond doubt that Rane has built this rig to last with exceptional workmanship. Add to that the FlexFX (external effects) loop, robust cue options and customizable fader assignments (and envelopes), and it is guaranteed that no two Empath DJs could ever set up the unit the same way. Ranes Empath senses a DJs needs (Auto-Gain), provides powerful solutions (routing, contour controls) and contains as ergonomic a group of knobs and faders that you may ever find.

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DATA SHEET

EMPATH

MIXERS

General Description

The Empath mixer combines the vision of Grandmaster Flash and Rane technology. Compact size, exceptional performance and advanced features set the Empath mixer apart. The Empath is the most able 3-channel, 10" format mixer available. The name implies understanding, awareness and sensitivity to the needs of DJs. The top plate is durable Lexan, available in 4 versions: Rotary Empath Original Blue Black on Black Grandmaster Flash Gold Signature Edition All four versions have the same operating features. The Empath meets the requirements of all DJ genres: trance downtempo techno breakbeat hip-hop scratch house drum & bass live music freestyle reggae hardcore chill out.
F eatures Important to DJs Universal internal power supply. When traveling, finding power supply adapters is difficult. The Empath accepts 100 to 240 VAC, 50/60 Hz power, for use anywhere in the world without adapters. Auto-Gain prevents performance-wrecking swings in program level when changing sources. The music is never too soft or clipped. FlexFX is a post-fader external stereo effects loop with individual Dry/Wet pan controls for Inputs 1, 2, 3 and the Mic. Penny & Giles faders are simply the best money can buy. Smooth, accurate and reliable mixing is made possible by employing the most respected name in audio faders. Two kinds of fader caps are provided for different mixing preferences: soft rubber caps for smooth mixing, and hard plastic caps for fast mixing. Flash-Cue allows the DJ to rapidly select Crossfader A-Cuesum or Crossfader B-Cue-sum with the flick of a switch, normally slow or complicated on other mixers. The Gold Signature Multiple Outputs. Nothing is more frustrating than arriving Edition comes with at a club and finding their jacks dont match. Systems may have a rugged road case, XLR, TRS or RCA connectors. The Empath provides all 3. including room un Low and High headphone tone controls allow the DJ to derneath the mixer for match their mixer to their headphones. cables and headphones. Both " and 3.5mm headphone jacks are simultaneously The case is also availusable. More headphones are compatible with the Empath. able separately. Two assignable CD triggers work with any CD player with fader start ability. Accelerated-Slope, full-cut, 3-band tone controls are the most flexible and highest quality available. Crossfader assign switches allow any Input Channel to be mixed on the A-side, B-side or Post Crossfader. Level meters view Stereo Cue, Stereo Master Mix, Split Cue or Main Output signals.

Data Sheet-

Parameter Phono Inputs:..Response..Input Impedance..Gain Line Inputs:.Input Impedance.Gain.Tone controls (EQ) Auxiliary Input:.Input Impedance.Gain FlexFx Return:.Input Impedance.Gain Mic Input:.Input Impedance.Gain.Frequency Response.CMRR.S/N.Tone Control Main Output/Booth Output:.Maximum Output.Output Impedance.Gain.Frequency Response.THD+N.S/N Aux Output:.Maximum Output.Output Impedance.Gain FlexFX Send:.Output Impedance.Gain Headphones:.Power output 1-2-3 Auto-Gain.Target.Threshold.Ratio.Gain Increase.Gain Decrease Power Supply Requirement Ambient Temperature Agency Listing Safety: UL..cUL (Canada)..CE EMI: CE EMC.FCC Part 15J Construction All Steel..Front Panel Size..Coffin Depth..Weight: Shipping: Size:..Weight:
Specification Conditions/Comments 3 Stereo Unbalanced RCA jacks RIAA 1 dB 47.5 k, 200 pF 1 kHz 36 dB 1 kHz 3 Stereo Unbalanced RCA jacks 3.4 k minimum 1 kHz -12 to +12 dB 1 kHz 3-band, Accelerated-Slope Full cut, see graph 1 Stereo Unbalanced RCA jacks 10 k 1 kHz Off to +10 dB 1 kHz Stereo Unbalanced " TRS jacks 10 k 1 kHz Off to +6 dB 1 kHz Active balanced " TRS jack each leg to ground, 1 kHz Off to +50 dB 1 kHz 20 to 20 kHz +0, -3 dB, Max gain >40 dB 1 kHz, Max gain 76 dB Re +4 dBu, BW 20 to 20 kHz, gain 50 dB 2-band, 12 dB See graph Stereo Balanced XLR jacks, " TRS jacks +24 dBu 100 balanced each leg Off to +6 dB 20 Hz to 30 kHz +0, -3 dB 0.05% Re +4 dBu, 20 to 20 kHz, 20 kHz BW 88 dB Re +4 dBu, 20 kHz BW, unity gain Stereo Unbalanced RCA jacks +20 dBu kHz Off to 0 dB Stereo Unbalanced " TRS jack kHz Off to +6 dB Stereo 3.5mm and " TRS jacks 150 mW 150 load Automatic gain for channel 1-3 inputs max gain adjust range 12 dB 0 dBu (775 mV) no gain change 16 dBu (123 mV) AGC actions starts, Gain holds indefinitely below threshold 3:1 Input change : output change 5.33 dB/second see graph in Manual, page dB/second see graph in Manual, page 2 100-240 VAC, 10% 50/60 Hz, 20 watts 50 C (122 F) maximum UL6500 E193164 CAN/CSAE60065-00 LVD 73/23/EEC EN60065 Directive 89/336/EEC Certified Class B Device 13.3"H x 10"W 3" (see detail) 9 lb 7.75"H x 12.75"W x 19.25"D 12 lb (33.8 cm x 25.4 cm) (7.7 cm) (4.1 kg) (19.7 cm x 32.5 cm x 49 cm) (5.5 kg)

MIXERS Fader Response These curves represent the upper and lower limits for gain response vs fader position. Contour controls allow smooth and continuous adjustment between a slow fade and a fast cut. EQ Response
Channel and CrossFader Contour travel

80 100

AUDIO PRECISION AMPL (dBr) vs AMPL (dBr)

23 MAY 102 16:39:24

dB Attenuation

Slowest Fastest

G -5 A I -10 N

-15 -20 -25 -30 -35 -40

HI GH

FREQUENCY

Interactivity of the Accelerated-Slope EQ controls
AUDIO PRECISION 0 -5 -10 -15 -20

SLOW FAST

AMPL(dBr) vs FREQ(Hz)
Summed Response Low Mid High
-25 -30 -35 -100 1k 10k 50k

Auto-Gain Response

Auto-Gain looks at the input signal level (black line) and compares it to the ideal or Target level (0 dB). With Auto-Gain on, the gain is increased when its above -16 dB, and decreased when it goes over the 0 dB Target (red line). Once Auto-Gain is active and falls below -16 dB, it is held indefinitely (blue line).
AUDIO PRECISION AMPL (dBr) vs AMPL (dBr) 23 MAY 102 13:01:49
Three Program EQ filter bands and the flat summed response
O 6 U 3 T P 0 U T -3 L -6 E V -9 E L -12

-15 -18 -21

Gain is held below Threshold

Gain is increased Target

Gain is decreased

-16 dB Threshold

-21 -18 -15 -12 -9 -6 -9 12
AUDIO PRECISION AMPL(dBr) vs FREQ(Hz) 12 Low +12, High +Low 0, High -2 -4 -6 -8 Low -12, High -12 -10 -12 -14 -16 -18 -100 1k

-24 -24

Combined response of the Mic and Headphone Tone controls Data Sheet-

INPUT LEVEL

Front View

Side View

.7" MAX PROJECTION (WITHOUT CABLES) CONTOUR

CROSSFADER

HEADPHONES 9
Example System Wiring Diagram

PHONO GROUND MIC

PHONO 1

GROOVE BOX

12.8" 13.3"

SAMPLER OR TAPE DECK

PHONO 2

PHONO 3 DUAL CD PLAYER

Rear View

.9" MAX PROJECTION

.8" MAX PROJECTION 3.0"
STEREO EQUALIZER (OPTIONAL)

STEREO EFFECTS PROCESSOR

STEREO AMPLIFIER

LEFT MAIN

RIGHT MAIN

LEFT BOOTH

RIGHT BOOTH
Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL 425-355-6000 FAX 425-347-7757 WEB www.rane.com
All features & specifications subject to change without notice. DOC 106217