Remote controls for objects. Basic controls and functions of a mixing console Remote control diagram

Twitter

Mixer. What is this?

This is a device whose main task is to summarize several sound signals into one. But modern mixing consoles, in addition to this function, perform a number of others:

Signal correction (equalization, compression, special effects);
routing (the console is the heart of any concert venue or studio, wires go from it to other equipment);
amplification (such a mixer can be connected directly to speaker systems);
recording to a computer or external storage device.

How to understand all this diversity?

Types of mixing consoles

All mixing consoles are conventionally divided into DJ, concert, studio, radio broadcasting and others. Everyone has their own specifics, and this most important factor cannot be ignored.

DJ consoles usually have fewer channels than live consoles, but they have special functions:

A fader between a pair of stereo sources, allowing you to mix them in one motion;
a special equalizer that literally kills frequencies;
an effects processor with a looper or a special input with a tone corrector for connecting vinyl players (or, as they are also called, turntables).

Pictured is a DJ mixing console.

These functions will most likely be useless for concert or studio activities, but you won’t be able to hold a disco with another mixing console.

DJ controllers have become very popular now. These are DJ mixing consoles combined with a multi-channel (usually two stereo pairs) sound card and controlled by a special program from a computer. If the only sound source is a computer, then there is no point in buying a regular DJ mixer. A better purchase would be a DJ controller.

In the photo - DJ controller

With concert consoles, increased attention is paid to reliability and ease of operational operation during frequent trips. Such a remote control must have a developed architecture - the ability to connect a variety of additional equipment and route the signal to various sound reinforcement zones. Concert consoles include zone and monitor consoles, as well as various splitters that solve narrow problems during large concerts.

In the photo - a concert mixing console

Modern studio consoles value, first of all, the level of sound quality and the ability to save settings. Digital remotes are now widely used, allowing you to return to an unfinished track with one touch and continue mixing it at any time. With studio consoles, attention is often paid to such subjective parameters as mixability and audibility, which characterize the balance of instruments when producing a finished recording.

In the photo - a modern studio mixing console

Broadcast consoles are in some ways similar to DJ consoles (it’s not for nothing that people in broadcast studios more often call themselves DJs than presenters). However, these consoles have some additional functions, for example, the ability to communicate off-air with the studio or listeners calling on the phone, starting a soundtrack from the fader channel, and special dynamic processing with controlled compressors. All this is absolutely not necessary in the studio or on the concert stage.

On the picture? radio broadcast mixing console

Depending on the number of channels, mixing consoles are divided into portable, portable and stationary.

Portable remote controls are compact devices, usually of a budget class, that perform a minimum of the tasks assigned to them. They are usually used where many channels are not needed and there is no need to connect musical instruments. A special feature of portable consoles is the use of circular potentiometers, thanks to which the devices are light in weight and dimensions, are easy to carry, and do not take up much space in the home studio.

In the photo - a portable mixing console

By the way, you can watch our video about the 5 most interesting representatives of these mixing consoles on the channel:

Portable mixing consoles are semi-professional and professional models that are used for various events: concerts, studio recordings, etc. Such devices have more channels than portable models. In concerts, active mixers with a built-in power amplifier are often used. They have everything that is typical for quality mixing and recording.

In the photo - a portable mixing console

Stationary mixing consoles are professional devices with a large number of channels. They are used for large concerts and in professional-level recording studios. Increasingly, there are digital mixing consoles that allow multi-channel audio recording to a computer, have the broadest sound processing capabilities, are able to remember all the settings for a specific studio project, and greatly facilitate the work of sound engineers.

In the photo - a stationary mixing console

Main characteristics of mixing consoles

Number of channels: what do you need to know about it?

Just because a remote is called 10-channel doesn't mean it has 10 microphone inputs. Stereo input (for example, for connecting a stereo player) has two channels. There is also an additional, unregulated TAPE (CD) IN input that feeds a linear stereo signal directly to the master bus: it also requires two channels. Thus, a 10-channel mixing console can have 4 mono microphone inputs, 2 stereo inputs for connecting stereo sources and an additional input for connecting a turntable to the master section.

Types of channels

As we noted above, mixing consoles have microphone and line inputs. They can be balanced or unbalanced. Most remote controls have balanced inputs, which contributes to greater noise immunity and, as a result, noise reduction. Therefore, you should use balanced (also called symmetrical), mainly XLR connectors.

Mixing console interface

All signal control in the mixing console can be divided into channel and general.

Each channel of a mixing console typically contains:

Microphone XLR input.

Line input 1/4" TRS (thick jack).

Very often, microphone and line inputs are provided on budget consoles to save space on the so-called COMBO connector. You can connect both XLR and Jack to it.

Insert, which ensures that the signal is sent to an external processing device (most often a compressor) and received back from this device.

GAIN sensitivity control, allowing you to configure the mixer input channel to work with any sources.

Equalizers. Budget models have a two- or three-band equalizer. More expensive and professional models usually involve parametric adjustment, changing not only the level of each adjustable frequency, but also the frequency itself. This option is convenient for concert and studio work, as it allows you to make more accurate and deep signal correction in the mid-frequency range.

Send, which makes it possible to mix a processed signal from an external processing device into the channel signal.

Panorama control, responsible for controlling the signal level that will be sent to the common left and right channels.

Switching, in which the activity and signal route are determined using buttons.

Volume control. On budget models it is made with circular potentiometers, on professional consoles with vertical faders: the longer it is, the more accurately the signal level can be set.

General management includes subgroups that allow you to combine selected channels for further management. The general section contains a headphone output, switching (AUX sends and returns, monitor outputs), and built-in DSP processors. A level indicator is also required. Professional remote controls have a built-in microphone for conversations with the sound engineer, a special output for connecting lighting, and much more.

Do you need a mixer in your home studio?

Now that we know almost everything about mixing consoles, let’s answer the main question that we get asked: “I have a home studio. Does it make sense to buy a mixer for it?

The minimum composition of a home studio usually includes:

Microphone;
- sound card;
- headphones;
- studio monitors;
- MIDI keyboard;
- switching and racks.

Is a remote control needed in this case? Our answer? NO. A mixing console is not needed for recording: not only will it not improve the recording, but, most likely, it will worsen it. Of course, if you don’t use your studio to take “clear” photos against its background :) :)

Why do we think this?

1. Modern sound cards contain microphone preamplifiers of quality that are usually higher than those of similar preamplifiers in consoles. The preamplifier costs no less than $100, the 10-channel console uses at least 4 microphone preamplifiers, and also has stereo inputs. However, the price of the remote control does not rise above $400. A completely normal 10-channel console can be purchased for $120–150 (it will even come with an effects processor, which also costs $100 or more separately). What is the logical choice under such circumstances? in favor of audio interfaces and separate preamplifiers.

Cards, by the way, can have up to 16 (and even up to 32) input channels and allow you to record any signal source.

3. Mixing in 99% of cases will take place in a sequencer (special program). The remaining 1% comes from expensive analog mixing consoles. The cost of such remotes now starts from 500,000 rubles, they require a lot of expensive additional processing, and this is not home recording at all. Unfortunately, it is impossible to mix on an 8-channel remote control for 10,000 rubles and get great results.

4. Many people are considering mixing consoles with USB on board. Unfortunately, these remotes are absolutely useless for studio recording. They digitize only the master section, and you cannot write channel by channel with them. In other words, you will not be able to listen to a backing track through such a remote control and record vocals on a separate track: a ready-made mix will be recorded. But for small performances this is a godsend: you don’t need a sound card, you connect directly to your laptop and have sound much better than through the built-in sound card. The more power, the more noticeable the difference will be.
But all of the above does not put an end to the use of mixing consoles in a home studio for monitoring.

The remote can be useful because:

You will have an additional headphone output (another one is required on the sound card).

Note that if you need to connect more than two pairs of headphones, there are dedicated headphone preamps. Their use is more practical.

You can connect not one, but two pairs of monitors via the remote control.

For serious studios, there are special monitor mixers. They allow signal routing with great flexibility.

In the photo - a special monitor mixing console

It will be possible to use equalization in monitoring mode and assess the need for frequency correction in real time.

Finally, you can calmly rehearse with your friends before recording, without thinking about how to plug it all into your sound card.

We hope our article was useful to you. If you have any questions, write to us and we will give you the best free advice on any issues related to concert and studio equipment.

In general, a remote control (RCU) is a wireless or wired device designed to control any mechanism, object or process from a distance. All remote control devices are divided into groups:

according to the method of receiving power: via cable, autonomous;
via the channel used to transmit control signals: IR, ultrasound, radio, wire, mechanical drive;
in terms of functionality: with one set of commands, universal for several devices from the same manufacturer, programmable (teachable);
by mobility and other characteristics.

The most common type of remote control nowadays is a mobile stand-alone wireless device that controls objects via an infrared (IR) channel. It is this type of remote control device that we use in everyday life when we transmit control signals to a TV, air conditioner, stereo system, player and other household appliances.

The first models of remote controls contained a minimum of control elements only to perform basic functions. Over time, the approach has changed: modern products have a full set of control elements, while the controlled devices themselves contain a limited set of them.

Remote control device

The gadget is a small oblong plastic box. On its front part there are buttons with which you can select a control command.

At the end of the device there are holes for the IR emitter lens, which directly sends the command for execution. On the reverse side, under the cover, there is a niche for installing batteries. As a rule, these are two AAA batteries.

If we disassemble the remote control by disconnecting its upper part from the lower part, we will see two more elements. The first is a printed circuit board with contact pads and mounted electronics.
The second is a pad made of soft elastic material with convex control buttons with conductive disks.

Infrared wireless remote control: operating principle

The design of the remote control and the operation of the remote control are based on one-way or two-way transmission of information between the remote control and the controlled object using light rays in the infrared range. IR receivers and transmitters are used to receive and transmit signals.

The remote controls that control air conditioners have a circuit with a two-way information transmission channel: a control signal is sent to the air conditioner, and the operating parameters of the unit and temperature data are returned back.

All other models are overwhelmingly single-channel.

Sending and receiving commands

Let's take an operation that is most often encountered in everyday life: remote wireless control of a TV. The first thing the remote circuitry does is determine which button was pressed. The detection principle is the same as in a computer keyboard: scanning a matrix of placed buttons. But, unlike the PC keyboard, the remote control scan generator is in standby mode and turns on only when you press the buttons on the remote control. This achieves economical use of batteries.

Then the control signal (command) is encoded and transmitted by an IR LED. Before transmitting the main signal, the transmitting and receiving devices are synchronized, and the remote control code is checked on the receiving side for compliance. The transmission itself will continue as long as the control button is pressed.

It should be noted that manufacturers of electronic devices are not limited in any way in creating algorithms for encoding control signals and the modulation frequencies used. This leads to the fact that often even models of the same type from the same manufacturer require different control panels for control.

Remote control diagram

Most circuits of TV remote controls and other household devices are based on the basic microcircuit, generating a control signal after pressing the corresponding key, signal amplifier And IR LED. The difference lies only in the name and layout of the radio elements inside the device body and on the printed circuit board.

The microcircuit is a specialized microcontroller into which program code is written during the production process. The recorded program then does not change during operation. The board also contains quartz resonator to synchronize the frequency of the receiver and transmitter. The signal amplifier is part of the microcircuit or is made on a separate element.

To create such a device yourself, in addition to amateur radio skills, you also need to be able to create program code for microcontrollers.

Remote control for PC

A remote control for a personal computer can be useful when working with the interface of both the operating system itself and when controlling the functioning of various programs. For example, managing presentations in Power Point or playing media content in Media Center. Sometimes such remote controls are already included with the PC.

Manufacturers of remote controls for PCs, unlike TV ones, have implemented 2 solutions: IR and radio remote controls. The fact is that when controlled in the infrared range, it interacts with the device with direct visibility and at a distance of up to 10 m, which is enough for TV, but may be inconvenient for controlling a PC, especially during presentations. The radio remote control increases this distance to 30 m, regardless of obstacles in the signal path.

Externally, the radio remote control will differ from the IR remote control only by the presence of a small antenna. But in order to be able to carry out control, the PC needs one more element: a radio or IR signal receiver installed in the computer or laptop. This can be either a built-in device or a module connected to a USB port. The second option is preferable.

Universal and/or programmable remote control

A universal remote control may be required in two cases:

A replacement has not been found for a lost or broken old TV remote control or other household appliance.
A lot of different household appliances in one room makes controlling them from different remote controls extremely inconvenient, since the concept of “correct design” and “optimal ergonomics” is different for all manufacturers.

There are two types of such devices: remote controls that store commands (learning ones), and programmable universal remote controls. In the first case, the standard remote control of the TV or other device is used to enter the required codes. In the second, the list of available codes and models of equipment that can be controlled is in the instructions for the control device. The difference is that, despite thousands of device models supported by universal remotes, the device you need may not be on this list.

“Training” of memory remote controls is carried out in accordance with the user manual and using the original remote control. If the purchased remote control has fewer keys on its front panel than the “native” one, then first of all you should program only those that are necessary.

After purchasing a universal multifunctional remote control, you should not throw away the old standard ones. Firstly, they may be required if the new one suddenly fails. Secondly, the universal one may not have some of the necessary elements. And thirdly, they may be required for reprogramming in the event of a failure or battery change.

Smartphone as a remote control

Another option for a remote control for almost any device is to use a smartphone as a control device. At the same time, it may or may not implement signal transmission in the IR range (technology IrDA). In the latter case, control is carried out via Bluetooth or Wi-Fi. The only limitation is that the controlled device must also support these information exchange protocols, which is not implemented on all equipment.

More interesting as a remote control is the version of a smartphone with an infrared port. Let's look at this using the model as an example Xiaomi Redmi 3 and a pretty old TV Daevoo. We will need to install from Google Play special application. It can be anything, the main thing is that the list of supported equipment includes a model of the control object. For this phone with shell from MIUI it's called Mi Remote(Russian language is present).

Consider the main functions and controls of a mixing console using the YAMAHA MG166CX as an example.

This remote has 8 microphone channels that can be used as instrumental channels:

two universal channels that can be used as microphones or as dual line channels for connecting stereo signals (for example, an MD player):

and two stereo channels:

This remote control also has a built-in effects block:

built-in compressors in microphone channels, 2 AUX buses, 2 subgroups and parametric adjustment of mid frequencies in microphone channels. A very extensive arsenal for its price!

What is a mixing console? Roughly is a set of input channels (rulers) that allows you to process, mix and send the signal to one or more outputs in the desired proportion. Let's take a closer look at the input channel (using the microphone as an example, as it is the most saturated with functions):

So the input channel is:

Balanced microphone input- This is a 3-pin standard XLR-male connector (popularly called canon) for connecting microphones.

Balanced line input- This is a symmetrical jack (not to be confused with stereo) connector for connecting musical instruments and other signal sources.

Channel rupture (INSERT)- this is a jack connector for connecting external processing devices in the gap between the tone block and the master channel level control. Typically used to connect dynamic signal processing devices (compressor, gate, etc.). The wiring of this connector is not the same for all manufacturers; for YAMAHA it looks like this: tip of the jack (TIP) - signal send (output), ring (RING) - signal return (input), ground (SLEEVE) - common contact. The jack connector is abbreviated as TRS, as an abbreviation for TIP, RING, SLEEVE.

Channel number - a serial number that determines which channel the signal is sent to.

Sensitivity control (GAIN) - This is a pre-amplification parameter for the input signal. IMPORTANT! The sensitivity should be set so that when the PFL (PreFaderLevel) button is pressed, the signal indicators show a level of 0 dB at the operating input signal level. Avoid over- or under-amplification of the signal. As a rule, this can be seen by the comb-shaped position of the master channel controls.

Low cut filter - used to remove sub-bass frequencies from incoming signals to improve intelligibility.

Compression level regulator - Changes the amount of dynamic "compressor" effect in the channel. Used to "compress" weak signals, compressing the dynamic range but increasing the signal level.

Peak level indicator- indicates an increased level of input gain (sensitivity).

RF regulator- adjusts the level of high frequencies (10 kHz) of the input signal from -15 to +15 dB.

Midrange regulator- adjusts the level of mid frequencies. The upper knob changes the frequency from 250 to 5 kHz, the lower level of this frequency from -15 to +15 dB.

Bass control- adjusts the level of low frequencies (100 Hz) of the input signal from -15 to +15 dB.

AUX bus 1 (Pre fader)- control of the signal level sent to the universal AUX 1 bus. Does not depend on the position of the overall volume control. Most often used to direct sound to monitors.

AUX bus 2 (Pre/Post fader)- control of the signal level sent to the universal AUX 2 bus. May not change/change depending on the level of the overall volume of the channel. Used for monitoring (Pre) or sending to external processing (Post).

AUX 2 switch- changes the Pre/Post parameter of the AUX 2 bus.

Effect level control- changes the amount of input signal processing by the built-in effects unit.

Balance regulator- allows you to route the signal to the left or right channel of the sound system.

Channel enable button- allows you to mute a channel with one click. Both the master output and the prefader output to AUX are disabled. When pressed, it is illuminated by a yellow LED.

PreFaderLevel button- serves to adjust the channel sensitivity.

Direction button to subgroup 1-2- serves to group channels, which makes it possible to adjust the volume of several channels with one fader. Convenient when working with a group of vocalists or scoring a drum kit.

Direction button to subgroup 3-4- see above.

Directional button in Stereo Out- sends the signal to the main output bus of the console. A very insidious button, if you forget to press it, you can spend a very long time looking for a malfunction of speakers, amplifiers, etc.

Master regulator- sets the volume level of the channel in the overall mix. For normal operation - should be set at 0 dB.

We've sorted out the input channels. Let's move on to the effects block. It looks different for all mixers, but the operating principle is identical.

Program selector- selects the type of signal processing used.

Effect parameter knob- is responsible for the qualitative characteristics of the effect, for example, the number of delay repetitions or the length of the “tail” of the hall.

AUX control 1- sends the effect to the universal AUX 1 bus. A very useful function if the vocalist is used to hearing his voice in processed form from monitors.

AUX 2 control- see above.

List of built-in effects block programs- select the effect that suits you by rotating the program selector.

Otherwise, the effects block channel is identical to the microphone channel.

Let's move on to the master section of the mixing console:

STEREO OUT- the most important output of the remote control. Cables going to the speaker system, crossover or amplifier are connected here. The cables must be balanced and of good cross-section to avoid interference and loss of the main signal. In this mixer, the outputs are duplicated with balanced jacks for easy connection of an acoustic system.

Monitor out- additional stereo output. Used to connect control monitors or recording devices. It can also be used to connect several mixing consoles in a chain.

Phones- output for connecting headphones. Most remote controls have a 6.3 jack connector. When using headphones with a mini-jack, you must use an adapter.

Group out- balanced bus outputs Group 1-2/3-4. Used to connect recording devices or to quickly adjust the level of grouped signals with one fader.

Aux send- balanced AUX bus outputs. Used to connect stage monitors or external processing.

Aux return- balanced AUX bus inputs. Used to return the processed signal from the AUX bus. Can be sent to both Stereo out and AUX buses. It can also be used to connect an external signal from a player or other mixing console.

The lower part of the master section is a set of input/output controls for the upper part of the master section. It is worth noting that the signal from groups 1-2/3-4 can be sent to Stereo out, which makes it possible to change the volume of several channels at once, collected in a group, in the overall mix!

In general, a DJ's performance doesn't really depend on technical equipment, but for disc jockeys who give hundreds of concerts a year, equipment can really influence their creative abilities. If someone voluntarily trades his daily life for a set of musical instruments, he definitely has a chance to improve. We have compiled a list of equipment used by the most popular DJs and producers in the world.

Let's find out what equipment DJs use

I had to do a little digging to find out what DJs play when performing live. We have done our best to define this as accurately as possible and not mislead you. After studying YouTube videos, interviews, and photos from various sources, we managed to compile a collection of the most used DJ equipment.

Note that many performers periodically add new equipment to their arsenal (sometimes they are supplied with equipment by sponsoring manufacturers in order to test a newly released product), so the list presented in this article is not permanent and may soon change.

TOP 100 most popular DJs: CDJ Mafia

We found that most of the DJs in the TOP 100 according to DJ Mag use the same equipment, with the exception of headphones.

Below is the "standard" set of equipment used by real pros: Avicii, Tiesto, Nicky Romero, David Guetta, Skrillex, Afrojack, Alesso, Dash Berlin, Calvin Harris, Sebastian Ingrosso, Claude Vonstrok, Eats Everything, Hardwell, Dimitri Vegas & Like Mike, Nervo, Above & Beyond and many others:

Mixer: Pioneer DJM-900 Nexus
Decks: Pioneer CDJ-2000 Nexus
Source: USB flash drive (Rekordbox)

About 70% of the TOP 100 DJs participants use identical equipment. The reason is clear - this is a universal equipment that is suitable for both club performances and festivals, it is easy to reconfigure in the DJ booth.

Things are much more interesting with the headphones of super-DJs; when choosing this accessory, stars are mainly guided by individual preferences and, probably, advice from colleagues. Below is a list of headphones used by the TOP 20 DJs according to the publications "DJ Mag" and "Resident Advisor":

Sennheiser HD 25-1 IIs (Calvin Harris, Afrojack, Ben Klock, Loco Dis, Aly & Fila, Hardwell, Above & Beyond, Ricardo Villalobos, Seth Troxler, Maceo Plex, Ben UFO, Eats Everything);
V-Moda Crossfade M-100s (Dash Berdin, Avicii, W&W);
Urbanears Zinken (Alesso, Axwell, Sebastian Ingrosso);
Phillips A5-Pro (Armin van Buuren);
AKG 267s (Tiesto);
Beats By Dre Mixr including custom colors (David Guetta, Nicky Romero, Skrillex, Dimitri Vegas & Like Mike);
Sol Republic Tracks HD (Steve Aoki);
Pioneer HDJ-2000 (Nervo).

This is interesting: unique DJ equipment + setups

Who among the members of the CDJ Mafia - the most popular and influential DJs in the world - uses unique equipment without repeating after other disc jockeys? Below is a selection of 13 performers.

Zedd: All-In-One Controller

Zedd is one of the touring DJs who uses an all-in-one controller. This year he acquired the MK2 model. It is possible that he will soon switch to Kontrol S8.

Headphones: Beats By Dre Mixr
Mixer: N/A – connects to a house mixer
Controllers/Decks: Traktor Control S4 MK2
Other: Zedd recently revealed that he was deaf in one ear. I wonder if he will change his headphones after this? An in-ear model would probably suit him.

Armin van Buuren: CDJ Setup with expanded functionality

Armin has been DJing for decades. Therefore, it is no wonder that he is well versed in this matter. During performances, the DJ uses visual effects, from which the audience is completely delighted.

Headphones: Phillips A5-Pro
Mixer: Pioneer DJM-900
Controllers/Decks: 4 Pioneer CDJ-2000 Nexus with USB
Other: Armin uses 2 CDJs to send the SMPTE signal to the VJ software. He also has a chat program on his laptop to communicate with his VJ during his performance and notify the latter what track he intends to play.

Flostradamus: DJ setup (with Midi Fighter 3D!)

The king of remixes, Flostradamus, has an amazing show included in the Ableton program, as well as a lot of sound and lighting effects.

Headphones: Beats by Dre
Mixer: Pioneer DJM-900 Nexus
Controllers/Decks: Novation Launchpad, APC-40, CDJ-2000s Nexus (from time to time), Midi Fighter 3D
Other: In addition to using Midi Fighter 3Ds, Flostradamus was spotted with Chroma Cables and DJTT - looking pretty cool!

Deadmouse: Equipment for Live Performance

Joel Zimmerman quite often claims that his performances are significantly different from the DJing of the rest of the TOP 100 participants, because his equipment is completely different from anyone else's DJ kits. We will not deny that the DJ is indeed constantly improving his equipment. The photo above shows the scope with which he is ready to take on “live production” - his DJ set is equipped with modular synthesizers, a table for a mixing console, Virus TI and Kontrol X1 (the DJ had all this in 2011). Recently, Deadmouse was spotted with another, even more bizarre device, the Microsoft Perspective Pixel.

Richie Hawtin: DJ equipment Traktor + Push

Ritchie is meticulous about the choice of technical equipment - his main equipment is Traktor Pro, connected to Ableton Live (synced with MIDI clock), thanks to which the DJ can create mixes in real time throughout the performance. Dubfire has a similar DJ setup.

Mixer: Allen and Heath Xone:92
Controllers: Kontrol X1 MK1 (2x), Ableton Push
Sound card: RME Fireface UFX
Headphones: Variable, and last year I used AIAIAI TMA-1 Studios and Pioneer HDJ-2000s
Other: Khotin believes that there should always be a lot of fruit near DJ equipment. In fact, he surrounds himself with grapes during his performance.

Maceo Plex: external effects ensemble

Maceo's deep sounds are enhanced by a variety of external effects. By the way, the sets of online parties "Boiler Room" only half reveal the versatility of Plex's DJ game. He seemed used to producing live shows using Ableton, Akai MPK, Kontrol F1 and iPad equipment, but the DJ still preferred a CDJ with exciting effects.

Mixer: Allen and Heath Xone:92 or DJM-900 Nexus
Decks: CDJ-2000 Nexus
Single effects: Boss delay pedals (2x), RMX-1000 (sometimes 2x - one for each deck to avoid having to send/return a signal)
Headphones: HD 25-1 IIs.

Tale Of Us prefer Traktor

This Berlin duo presents fantastic dark techno stories in their sets. Tale Of Us take a diverse approach to DJing. Traktor Control Vinyl is used as the main equipment.

Mixer: Allen and Heath Xone:92
Decks: Traktor Control Vinyl and sometimes CDJ-2000 Nexus
Controllers: Kontrol X1 MK1s (2x)
Headphones: HD 25-1 IIs
Other: These guys seem to have found something that really suits them - DJTT Chroma Cables.

Andy C: the main thing is reliability

Andy C is one of the most prominent pioneers of DJing in the Drum and Bass scene. He is successful not because he uses some cutting-edge technology, but solely because of his excellent mixes, which he has released over the years.

Mixer: Allen and Heath Xone:92
Decks: 3 Technics 1200s/1210s
Headphones: HD 25-1 IIs
Other: concrete plates under the decks and a mixer to isolate the turntable - this is especially important at festivals, where DJ booths do not always absorb the bass of house systems well.

Flying Lotus: Hardware with Ableton

Label creator Brainfeeder Steven Ellison uses the simplest and most unpretentious equipment, focusing on visual effects in the process of creating a powerful "live" show. More information in the video.

Mixer: N/A, via RCA connects to laptop sound card
Controllers: Akai MPD 32
BY: Ableton Live.

Paul van Dyck: production palette

Like other DJs, Paul van Dyk also uses a lot of equipment to make his performances flawless. Above, watch the DJ perform at the Creamfields dance festival, his DJ setup is clearly visible in the video.

Mixer: Allen and Heath Xone:DX
Controllers: Akai APC 20, M-Audio AxiomPro 25 (2x), Vestax VCM-600
Headphones: Sony MDR V6/7506
Other: Paul has 2 laptops on stage - probably one for performing live and one for mixing audio and video - both running Ableton Live software.

DJ setup for Pretty Lights

The glitch-hop music from Colorado-based musician Pretty Lights has become one of the most sought after at festivals around the world. Derek Smith plays his compositions using a mirror setup and two laptops equipped with Ableton Live. The DJ’s arsenal also includes MPCs, analog synthesizers, and more.

Mixer: Pioneer DJM-900 Nexus
Headphones: in-ear, brand unknown
Controllers: Akai MPD 32 (2x), Maschine Mikro MK2 (2x).

Porter Robinson's new worldwide live show

You may remember that Porter's rise to fame involved learning how to DJ using a kit Traktor Control S4. Last year he showed a more exciting show, far from aggressive electro house. Porter's equipment list includes the following equipment:

Controllers + samplers: Livid Ohm (4-channel mixer), Roland SPD-SX, Akai keyboard
Synthesizer: Roland System 1.

Bassnectar and its MIDI controllers

Bassnectar is very obsessed with his DJ equipment. Do you want to know how much? The musician tried 60 types of different controllers.

Mixer: Pioneer DJM-900
Controllers: 60 Livid models (based on DJTT), Midi Fighter Pro Cue Master.

One of the earliest examples of remote control devices was invented and patented by Nikola Tesla in 1893.

The first remote control for controlling a TV was developed by an American company Zenith Radio Corporation in the early 1950s. It was connected to the TV with a cable. In 1955, the wireless remote control was developed Flashmatic, based on sending a beam of light in the direction of a photocell. Unfortunately, the photocell could not distinguish the light from the remote control from light from other sources. In addition, it was necessary to point the remote control precisely at the receiver.

Remote control Zenith Space Commander 600

Universal remote Harmony 670

Warfare

In World War I, the German navy used special boats to fight the coastal fleet. They were driven by internal combustion engines and controlled remotely from a shore station

over a cable several miles long, attached to a reel on the ship. The aircraft was used for their precise guidance. These boats carried a large explosive charge in the bow and sailed at speeds of 30 knots.

The Workers 'and Peasants' Red Army used remote-controlled tanks in the Soviet-Finnish War of 1939-1940 and at the beginning of the Great Patriotic War. The teletank was controlled via radio from the control tank at a distance of 500-1500 m, thus creating a telemechanical group. The Red Army fielded at least two teletank battalions at the beginning of the Second World War. The Red Army also had remote-controlled boats and experimental aircraft. Meanwhile, the German tank battalions were completely radio-equipped, each tank had a walkie-talkie on board, which indicates the enormous superiority of German technology and industry at the beginning of the war.

Detailed information about the use of remote controls for special-purpose vehicles in our time is mostly closed.

Aviation

Almost all avionics and other on-board equipment of the aircraft are controlled using remote controls in the cockpit; remote control is also available in ground equipment

Water transport

A significant part of ship equipment is controlled using remote control

Railroad and metro

Remote control panels are used to control train equipment, track equipment, station equipment (escalator, lighting, etc.)

Industrial production and construction

Some types of production and construction equipment can be controlled using a remote control

Research and production technical laboratories

Some types of laboratory equipment are controlled using a remote control

Space

Remote control technology has also been used in space exploration. The Soviet Lunokhod was remotely controlled from Earth. Direct remote control of spacecraft over greater distances is impractical due to increasing signal delay.
To control the equipment and engines of the spacecraft, there are remote controls in the cosmonaut cabin

Communications and other information technology systems

Repeaters, radio beacons, as well as communication radio stations, radars and other systems can be remotely controlled

Electric power industry

In the electric power industry, remote control panels are used to control power system facilities and manage energy consumption

Security systems and management of buildings and territories

Gates and barriers are often controlled from premises using remote controls; also, using the remote control, you can control external and internal lighting, CCTV cameras, etc.

Cultural and entertainment support

Remote control is widely used in cinemas, as well as in theatres, circuses and, in some cases, in providing public events in the open air

Home use

Remote control panels are used to control consumer electronic equipment, home electrical appliances and lighting