soulbrixofficial Dives Into the RMX 500: A Near Miss for DAWless

The early moments of soulbrixofficial’s latest video tease us with the tantalising potential of the Pioneer RMX 500, suggesting it could be a game-changer for DAWless setups. Yet, like a dodgy kebab, there’s something unsettling lurking beneath the surface. soulbrixofficial notes that while it’s intended as a remix station primarily for DJ sets, he ventured into a different dimension, imagining it as an end-of-chain effects unit. His initial expectation was to seamlessly transition between patterns and songs, making live DAWless performances smoother. While the RMX 500 offers a range of effects meant to ease transitions, soulbrixofficial finds himself pondering whether it truly delivers on its promise.

In a familiar twist, soulbrixofficial takes us on a metaphorical pub crawl through the RMX 500’s features. This unit splits its identity across two sections. First, there’s the left-side chaos with what’s described as the “audio effects”—which to him, resemble more of a four-beat sequencer, holding the potential for rhythmic madness. It provides tools like rolls, adds reverb, delay, and even allows for customisation through a sequence with kicks, snares, claps, hi-hats and cymbals. The right side is another beast entirely, focused on building up to climaxes and breakdowns in song transitions. Here, the modulation, echo, and other effects aim to craft musical drama akin to a high-stakes drum and bass gig. But while these features should create a seamless transition, soulbrixofficial laments the lack of subtlety or finer control over customisation. The pressure-sensitive knobs try their best to add variation, but the limited presets can make achieving the desired sound feel like steering a runaway bus.

soulbrixofficial admits that the RMX 500’s BPM tracking seems almost psychic with its automatic detection. But like a rave that’s gone off the rails, it sometimes jumps erratically, leaving the user to grapple with bpm fluctuations that wouldn’t be out of place in a thrash metal track. This unit lacks MIDI connectivity, a glaring oversight for those weaving intricate DAWless webs. Nonetheless, customisation within the effects, albeit limited, offers avenues that soulbrixofficial explores with a touch of scepticism. He points out that while intended for DJs, the intensity might not always hit the right note for more chill, ambient productions. In soulbrixofficial’s view, a lack of deeper customisation options leaves this pioneer unit trapped in a loop of missed opportunities, much like a DJ set plagued by malfunctioning gear.

As soulbrixofficial unveils the cracks in the RMX 500’s facade, he might as well be recounting a punk band’s disastrous encore. Toggle buttons, rather than hold-to-engage controls, make nuance an elusive promise, leaving soulbrixofficial wishing he could provide more than just fleeting flavour to his transitions. The effects’ intensity, though appealing for some, often tips the unit into the red, producing unwelcome clipping and distortion. It’s a classic case of too much relish on the chips, losing the true taste of the music. soulbrixofficial critiques the overall usability, pondering why the unit seems designed to upset his careful live set balance rather than enhance it. These hiccups, he observes, strip away some of the joy and spontaneity inherent in live DAWless performances, forcing performers to perform technical cartwheels rather than focus on their artistic flow.