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The default configuration and screen layout will be familiar to any experienced digital DJ. On the surface, Deckadance looks much like any modern DJ-software application, with virtual decks (either two or four) positioned on the top half of the screen, and your song library on the bottom half.
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Once I had a couple of successfully burned CDs, I inserted them into a pair of older CDJs, and with everything cabled together (along with a standard DJ mixer) and properly set up in Deckdance’s configuration, I was off to the races (although getting to that point required a couple of full evenings’ worth of effort). (The CD must be burned as an audio CD, not as a CD-ROM, for starters.)
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Honestly, it’d been so long since I’d burned any CDs on my computer (years, actually), I had to re-learn how to do it, and burned a few duds before getting a pair of CDs that worked properly. But in a unique twist, you can actually burn your own DVS media to CD Deckadance produces an audio file to the hard disk that you can, in turn, burn to CD-R media.
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It even includes a “learn” mode to enable the software to figure out scratch media it’s not otherwise familiar with. Here, too, Deckadance takes an über-flexible, vendor-agnostic approach to the problem, supporting a wide range of DVS (“scratch”) media from a range of other parties, including competing DJ applications. In my case, I happened to choose a multichannel audio interface from a competing DJ software company that provided enough ins and outs to do the job quite nicely. The down side, however, is that connecting and configuring Deckadance can require a bit more technical depth of knowledge, and the need to have a few hardware tools in your closet to support the effort.
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Of course, the plus side is exactly that: extreme flexibility. That approach has its plusses and minuses. While other “scratch” DJ applications typically have a specific, logical path for those connections, or perhaps even offer dedicated hardware for that purpose, Deckadance takes a different route that’s apparent not only with the DVS mode, but throughout the software: one of flexibility to be configured in myriad different ways. Using DVS mode requires something beyond run-of-the-mill audio interfaces, because in addition to a way to get your actual music audio out of the computer system, you also need a way to get the audio signals into the computer from the decks playing back the encoded media.
(The music, incidentally, is provided through digital files housed on the computer.) When played from a CDJ or turntable, the audio output of that special signal is in turn used by the software to control the transport within the DJ software. The media is encoded with a specially designed audio signal. In this mode-which will be familiar to users of other DJ applications with so-called “scratch” support-the software uses unique media, either CD- or vinyl-based. It is, in fact, the newly rebranded and recently updated Deckadance 2 that is the subject of this review.įor the review, I decided to try Deckadance primarily in its DVS (digital vinyl system) mode.
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The company logically placed Deckadance under the Stanton banner, did a quick rebranding of the software itself, and grafted in place a new software registration system tied to functionality provided as part of Gibson’s primary music software brand, Cakewalk.
For starters, late last year, Gibson announced that it had acquired Deckadance, the digital DJ software product developed and previously marketed by Image Line (makers of the popular FL Studio DAW), along with the product’s development resources, and a commitment to continue to support and expand the software’s capabilities. The good part, however, is that the rumor mill is rife these days with talk that things at Stanton are shifting, and in fact, there are tangible signs of movement on that front. A recent peek at the brand’s web site seem to reflect that product information has seen some updates, but the news section’s most recent post was in 2013. It’s probably not overstating things to suggest that Stanton has not been the main focus for Gibson in intervening years. All three were collectively the “Stanton Group,” and today are part of a large and growing family of music and audio brands under the Gibson umbrella. It was just before Christmas back in 2011 that Gibson-best known as the maker of guitars of the same name-went on a little holiday shopping spree, and came home with three well-known brands in its shopping bag: KRK, Cerwin-Vega, and Stanton DJ.
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