Rotary house mixers are a fabled tool from music’s past beloved by house DJs around the globe. Along with vinyl, their popularity seemed to wain in the past but more recent response to Rane’s new MP2015 mixer suggests that people are ready for modern tools with a throwback style. This digital power-house packs a mean punch but comes with a hefty price tag – is it worth it?
Rane MP2015 Review
Rane is no stranger to rotary mixers, since they brought the style of sought after Urie and Bozak mixers into mass production in 1999 with the MP2016, a classic analogue rotary mixer with simple controls that was beloved by house DJs in particular. This year they seek revive the feeling, and look of that classic tool in a new digital format.
Reviewed: Rane MP2015 Rotary Mixer
Price: $2899 (available now)
Weight: 5.7 kg/12.6 lb
Dimensions: 14″ H x 13.1″ W x 4.3″ D
The Good: The dual USB sound cards make connectivity very easy. Large, grippable dials are fun to mix with and offer a tactile style of mixing that has been lost for a while. The Isolators and filters work very well for shaping sounds and creating build-ups on the fly. 5 channels to play with and for increasing sources of audio.
The Bad: The all digital mixer can get a little crunchy if over-driven, we were hoping for some analogue warmth. The effects send/return system is not ideal with RCA connections, W/D control, and limited control over assignment per channel.
The Bottom Line: This is a sexy, practical mixer with a lot of fun features. If you can afford it, chances are it will become a beloved piece for years to come.
- 2 Discreet USB sound Cards (Class compliant)
- 5 assignable stereo in (from computer over USB)
- 6 assignable stereo out (to computer over USB)
- 3 styles of filter on each channel (LP,HP,BP)
- Filters: 12 dB/octave (2nd-order) Linkwitz-Riley full-cut filters
- AD/DA Converters: Audio 4 Pro(TM) by AKM [Asahi Kasei Microdevices Corporation]
Get more info on this mixer and support DJTT here.
I love this Mixer and how it merges new with the old ?? Price point is justifiable but definitely high end ..Sound 10/10..Aesthetics 10/10 thank you Ean
[…] high-end audiophile mixer designed for a niche crowd of sound quality obsessed DJs. Alongside the Rane MP2015, Vestax/STP’s Phoenix, and the Funktion-One FF6.2, the Model 1 appeals to those looking for a […]
i would like to ask one question about audio quality
for djm 900 nexus and traktor please
Please explain to me how you overdrove a 32bit floating point mixer with infinite processing headroom and huge input/output headroom, and prove it with some distorted test signals. If Rane screwed something up, you should explain it in a way they can replicate.
Digital mixers do everything else so great, but they’ve never quite gotten the shimmer, spine tingling & butterflies-in-the-stomach quality that some of the best analog stuff has managed. I don’t know why that is. Considering 99.999… percent of content now is digital anyway, I guess it doesn’t matter. I don’t actually believe there’s any evidence that analog summing is inherently better, though certainly something subtle is lost at ever AD/DA phase. Midrange seems to be a toss up and depends on what you’re comparing. Digital can be glassy and lacking nuance in the mids, but analog can be phasey and murkey sometimes. Digital’s bass can get SO much more tight and tuneful, though. I think the rise of digital is what allowed stuff like dubstep and bass music to become such a big part of electronica now. I don’t think vinyl and an old Urei would have done it justice in the bass department. But you look at where music was right before the digital mixers started coming out and it was very midrange and high frequency oriented, exploiting those mixer’s strengths.
[…] Lees ook de review van djtechtools. […]
[…] much of the returning signal to mix in. Mixers such as the Pioneer DJM 900, Rane MP2015 (check out Ean’s MP2015 review), and Xone:92 have send/return […]
This mixer will get Traktor Scratch Certified in Traktor 2.8!
Great discussion and loved the high quality video review, really well done. Could have watched more on this no problem.
I love that mixer. Im looking to purchase a new mixer soon and im dusting off my decks and vinyls for a new set-up at home.
After shopping around online for a new mixer I’ve found it a tough choice with mind boggling amounts of options and facilities on mixers and players these days. The new digital stuff is just amazing and I am interested in trying a bit of that at some point. For now I have lots of vinyl and want more hands on mixing and music playing rather than more rattling around in menus and drop downs and technology stuff.
I mainly play house based music so i do alot of long mixes and smooth blends. This mixer really appeals to me on that front and I liked the sound of those filters for crafting the sound just like you want it. I guess for me this mixer gets me back into my beloved tracks and just simply listening to music. Obviously its a big spend but thats a DJ’s instrument and will last a lifetime.
Admittedly I have become obsessed with this mixer. I love mixers, I love the RANE even more. PHWOAAAR
Ean, do you maybe have an idea or information, will Rane issue 2 channel version of this mixer? I don’t need more then 2 channels , and I believe price would be alot better then the current one. I love the mixer, but there is a lot of DJs that are only using 2 channels!
Out of curiosity…does anyone know if the flex-fx/submix work post-fader? If I wanted to apply an echo or delay would I get it to work post-fx? Thanks!
[…] Curated from Video Review: Rane MP2015 Rotary Mixer | DJ TechTools […]
What were the songs in the video??
I wish that wood panels were swap-able. Just cause its rotatory doesn’t mean its has to be “old school”. Its also would be a fun accessory to change to give the buyer a custom feel.
They are. You’d have to make your own replacements but they are definitely removable.
Can you simultaneous mix vinyl tracks with Traktor tracks?
By having one channel on the phono input and another one on the USB, yes.
20 min video, writeup and no mentioning how it sounds? (well a little). I mean something about sound quality would be nice. I know it’s top class components, but I can definitely hear superiority of A&H mixer over Pioneer nexus or any other mixer. That is why I love my A&H for it’s warm spacious unique sound. It make my ears feel like in heaven. Does Rane works the same? Does it have this unique sound? Or it’s precise and flat studio sound (soulless but perfect for reference listening)? What is it?! I am dying here. I need to know!
“sounding good” is so subjective… and impossible to really verify that I do feel it’s not appropriate to put in a review like this. I would need to set up a more rigorous experiment with the same material/speakers and truly A/B mixers to actually say: yes this mixer has a superior sound over that one..
Thanks Ean. When I bought DB2 I knew it sounds way better than my previous Ecler Nuo4. Straight away. Ecler was great mixer but DB2 blew it out of the water. I would be expecting similar experience when changing from DB2 to Rane. That was my idea of sound quality change. Or maybe DB2 is pretty close to perfect so Rane will have hard job to impress me?
@Ean : would it not be nice to do that?
A djtechtools sound quality test with 5 of the top dog mixers? Would love to see that and hear your findings
There’s a well respected sound engineer from Germany who’s running shootouts with this mixer on his Facebook page. Look up Laurin Joel Schafhausen. So far this mixer sounds as good as the legendary mixers from Bozak & Urei and noticeably better than the Xone 92 and the DJR400.
I had the MP 2016a in place at my home DJ studio for a good while. The sound system (eq/compression) was set perfectly and the end result was a warm punchy sound expected from a Rane preamp with no blare or undesireable sound of any sort. This is both the line level out to the main system and in the line out for recordings carried that same warm sound.
I have replaced the MP2016a with the 2015 and must honestly admit the sound is “different” that being said it is not soft or warm in any way. I understand I will have to tweek my exisiting settings to offset or essentially coverup the blare in the line level output in the systems eq & compression to compensate. I have been working on trying to get the right sound for a week now and am not happy. I have swapped out in the past from my 2016a to a Pioneer 800 as well as a few differnt Pioneer controllers. When doung so I did notice a difference also in the sound and recording but nowhere near as much as when with the 2015. The whole input level gain structure is way to tight to guage eveything of of the 1 -10db light. You can change the input level gain 1 or 2 notches and still be in that -10 light but the gain is about -10db range while still showing the same light. This is no help at all to achieve an equal volume to a next song. In adition though it is mention Why have a 16 light meter when all but 14 of them are fully lit all the time. This too gives the mixer an appearance of being overdriven. Why make such accomodations for novice djs when this is a Pro Audio piece? Hoping there will be some changes especially in the input leveling of this mixer.
Filters sound wack
Thanks for recording the audio in good quality. The filters and iso sound great.
Nice one Ean!
I don’t understand the argument against the RCA connections in the send/loop. The only thing that would make 1/4inch useful is if it was a balanced connection but even in the DJM900 those 1/4inch are not balanced so they’re not any better than RCAs.
Not that Rane doesn’t know exactly what they’re doing, but I wonder if they could put a brickwall limiter in whatever stage of the mixer you were getting to clip, via a software update.
For my part I still prefer analog signal processing wherever possible for permanent installs — because by the time you’ve done all the futzing around and dialing everything in with a DSP system, to make it accurate yet warm, etc…you may as well have just gone analog in the first place. And this is from a guy who has written more than one piece of mission-critical DSP software from scratch.
Obligatory glamour shot of part of the master signal chain of the club I’m opening in Houston, TX this year:
Thanks for making this great review Ean! 😀
Nice pitch riding Ean 🙂
thanks! have not used that technique in a loooooong time but I was very good at it back in the day.
you don`t seem rusty anyway 🙂 but it`s like riding a bike , once you `re good at it , it`s easy go back . Thnx for the cool review as always.
Yeah man! Nice to see a modern DJ with the old school chops! =)
This is all the cowbell I need!.
Hi Ean! Great in-depth review by the way, and thank you. I noticed that you mentioned that the mic cannot be assigned to the “5th Channel”. Does that mean you can’t assign send/return fx to it?
that is correct – no effects on the mic.
Not a major deal, but a bit of a bummer. Thanks for clarifying.
My god, if I had the money I think I would buy this just for the aesthetic! That is a beautiful piece of equipment, especially next to the Technics… So classy!
mixing vinyl is fun 🙂
Those rotaries go to ten. But these, these go to eleven!
Does anyone know of a similar 4-channel “rotary” midi controller?
Xone:92 Rotary. Wich is fully analog, have 2 sends per channel, the unique 4 band EQ and have 2 returns/mic channels (wich also have the 4 band EQ!), so in fact you get a full 6 channel mixer.
The Xone mixers have a better value and there is a good reason they are used by so many house djs. The 4 band EQ, analogue signal path, proper send/returns and 6 channels. However, their cramped layout, lack of dedicated filters per channel, and lack of USB is why I have always preferred the DJM-900. This new Rane sit’s right between them with nice spacing, USB connection and send/return flexibility making it my personal new choice.
If most people are using the internal efx of Traktor or Serato Dj maybe the efx send return is not such a big deal on this mixer, your big issue i believe is your use of foot pedals for external efx?
I LOVE my 92 Rotary. Just an amazing unit. I would love to pick up the 2015 in the future.
this is a midi controller technically
A&H Xone: S2 Rotary. Has 1 USB port and the sound is on the 92’s range.
Ean, why do you hit the overload level? Is there no distortion with this mixer?
My question also, it seems the vu meters hit the red very fast…howcome? Did you overdrive it? And how does overall sound quality compare to other high end mixers (X92 – XDB4) is it the same, or is it like Rane says : the best sounding mixer on the planet?
I too am wondering the same question.
Same. Would in fact be main reason to buy this mixer. That and the isolator.
I own this mixer. I spoke with a Rane engineer and the mixer is designed to mix at what is marked +10 on the LED’s. It took me a little while to get used to because I always mix around 0db, but they assured me this is how they designed it. I assume it’s because they know DJ’s crank the levels all the way up anyway, so why not make that the norm? It really does sound fantastic to me. The filters, ISO, etc, and just general audio quality is great.
What they probably mean is that they lower the output by a certain amount like pioneer does on the DJM900 (6db headroom IIRC).
I think that’s a huge disservice to DJs in general. People should learn how unity gain works and why signal chain level matters. Hiding it from them is not helping.
Pioneer has everything running capped at an artificial hard limit around -5dBFS, possibly to reduce inter-sample errors. The SPIDIF will never go past this.
I think thats weird, because if +10 is the red, how can you mix levels right if its always in the red?
It’s actually a bit below. Ean had it just a little too hot in the video.
Thanks for clearing that up!
Don’t take my word for it… if you have a chance to play on one, try it out 🙂
Most DJ mixers work the same way. Take the Nexus and the Xone92. They were also built to go past 0db on the meters. The numbers don’t matter though. The idea is to mix as hot as possible in each gain stage to get the best possible signal to noise ratio/sound quality. Just under clipping is where you should be playing on any DJ mixer at all times. I like to look at mixing like a glass full of water. The glass should always be completely full. If you add something to the mix, thus adding more water to the glass, you need to take something out of the mix so the glass doesn’t overflow (distort). If you were mixing at 0db on a DJ mixer you’d only be filling half a glass of water. This does give you more space to add things to the mix without having to worry about the glass ever overflowing but it doesn’t maximize the overall sound. Keeping the glass full at all times no matter how many things you bring in the mix is part of the challenge and craft of mixing.
I suggest you look up stuff on signal chain theory and unity gain. What you’re describing is exactly what you’re not supposed to do. Equipment is made to work at unity gain. Best S/N ratio is at unity gain. If you running hotter, what headroom do you have left when two signals are mixed together or when you apply FX? None. You get distortion and digital distortion is not pretty.
@Damien : not entirely true, for instance i own a Xone DB4, and that mixer unlike a X92 does not have a “unity gain” setting, so its very hands on, adjusting gain eq and faders…however, the db4 has huge headroom, and you have to push it hard to get to the red, unlike this mp2015. On the Rane site somebody stated : that it was very hard to clip, but Ean got it to artifact pretty fast in my eyes..
Unity gain is not a setting. It’s what 0db of amplification is called. I’m fairly sure that you can set a Xone DB4 to produce 0db of amplification, no?
The problem is not just clipping but it’s mainly gain structure. For the best S/N ratio, your signal chain should always be at unity gain at every stage.
Because a lot of DJs nowadays don’t know what they are doing (even pro ones) and like to run everything hot, manufacturers like Rane, Pioneer and others attenuate the signal to give the mixer some headroom. On DJM900 it’s a setting that club owners can access and put, for example, 6db of headroom so the DJ can’t screw it up. DJ sees everything light up yellow/red and thinks that they are playing ‘louder’.
But of course, they’re not. The mixer is attenuating by 6db. So the club has to amplify the signal again to get the signal back at unity gain. They do that in their amplifiers before it hits they compressors/limiters.
Result: The signal chain is not optimal. It doesn’t sound as good as it could.
This is not an opinion, btw, it’s how signal chains work. Hope it makes things a bit clearer.
@ Damien: i know, but on the Xone92 you can you can achieve this by having some levels set on certain positions, on the Db4 this is harder to achieve.
@ shaun : Ean did not clip it in the video, but said it got crunchy and got artifacts.
And dont get me wrong, i really love the mp2015, just gathering as much info as i can before i am about to drop that amount of cash…its also not yet avaible here.
At the levels I was playing there was no digital distortion or un-desirable artifacts, however when REALLY pushing it hard on the redline it became pretty crunchy – however most mixers do that as well.
S/N ratio in the chain only has relevance on the mp2015 regarding its analog outputs. The output attenuator on the Pioneer DJMs has a purpose: to prevent the outputs from sending a signal that exceeds the input capability of the gear it’s going into. Within the digital domain and what can be sent to the outputs, there is a limit: 0dBFS. If when you are hitting this hard digital domain limit the downstream gear can be clipped, the output attenuator on the mixer should be turned down appropriately. An amp input is nothing more than an input attenuator, anyway. It doesn’t matter where that attenuation is happening from the standpoint of the amp, except that it should be occurring sooner in the chain if something later in the chain has an input stage that will clip otherwise.
Please see my above post. Also, when did it artifact in the video? Unless Ean had the master level pot ALL the way up with the mixer red-lining hard, there was no chance of the mixer clipping.
Every piece of gear that passes audio has a unity capability, weather its’ marked on the faders or pots or not.
Thanks for the link:) That article is in regards to using typical mixing boards but regardless my analogy still holds true. They mention “comfortable level” below clipping. This “comfortable level” is just to give you some space to add water without worrying about clipping the signal. This may be necessary when mixing a live band but as DJs we’re mixing fully mastered songs with bass, drums, vocals etc.
The hotter the input level is without clipping the lower your signal to noise ratio is going to be. As long as you don’t clip any of the gain stages there is no problem with distortion and you’re achieving the hottest and cleanest signal on the output. Regardless of how many channels of audio your mixing you want the level of all the audio to stay consistent. The glass should be full at all times.
If you are running as hot as possible without clipping on channel 1 and you bring in a track on channel 2 you need to make vol and/or eq adjustments on channel 1 as to not spill the water over the edges of the glass (distort the signal). Yes.. if you put both channels at full volume and blend them together water is going to be all over the floor.
I use Traktor and mix four decks.
Running at just under clipping gives me a reference point regardless of how many tracks I put in the mix and that reference point is as hot as it can possibly be without clipping. If at anytime I hit red I know I need to turn down the inputs as to keep the overall volume consistent and not distort the sound. That reference point could be lowered to, say, the first yellow LED but then I’m not maximizing the signal to noise ratio and I’m achieving a lower output.
Of course this discussion is totally different when using the MP2015 as its impossible to clip the inputs to distortion. The ONLY way to distort the audio on the MP2015 is to turn up the main volume all the way to 10. You could have every input knob turned all the way up and it STILL won’t distort if your main volume knob is lower than 10. The headroom on this mixer is insane.
I’m stoked you picked one up and are enjoying it:)
As I mentioned elsewhere clipping is only part of the problem. Gain structure matters too.
Gain structure tells you that you shouldn’t amplify or attenuate the signal along the chain in order to achieve the best signal to noise ratio.
Making the signal hotter does NOT improve signal to noise ratio as you are potentially amplifying the noise too.
Hope this helps but yeah, the mixer is amazing 🙂
I’ve been led to believe that digital distortion begins on the last few db’s leading up to 0, real 0, not various mixer values of 0. Therefore I have always found the best sound for me is hitting a max of -3 db’s per channel, house amplification set as high as possible and controlling the entire room’s volume from the mixers main volume knob.
Seen so many Dj’s even playing early warm up sets in a club and the music set so loud it would crack beer bottles…….guess it’s a similar principle to the intensity of the music, both volume and intensity must increase slowly as the night progresses is my views on it.
Intersample errors begins around -3dBFS.
Just to clear things up for everybody. Here’s a bit of info about the mixer metering, gain settings, etc.
0 on the MP2015 metering does not reflect 0dB. Because the mixer uses DSP processing 0 on the meter is scaled to be about -20dBFS.
For optimal use, running each of the channels at or around +7 to +10 is perfectly fine. From +10 to the Red OL light (separate LED indicators BTW), there is about +10dB of headroom, which is pretty good amount. Speaking of headroom, the 32-bit floating point DSP in the mixer gives you roughly +40dB of headroom for each channel.
Because Rane uses 32-bit floating point DSP, hitting red on the channel meters and main output meter does not indicate clipping. It would be extremely hard, if not impossible, to clip the individual channels (not with 40dB of headroom each). The ONLY way to actually clip the mixer is to have the Main Output level ALL the way up (to 10) with the main output meter totally buried in the red.
You can push the mixer really hard into the red and as long at the main output level control isn’t cranked all the way up, it should never clip the output stage of the mixer.
Thanks for the numbers Shawn. As I was saying earlier, I understand why you guys scale the gain internally but I still think it would be better to educate users to set up proper gain structure rather than display misleading metering in order to let them have all the yellow lights on 🙂
Rane has a couple educational papers on these particular subjects
“Unity Gain and Impedance Matching: Strange Bedfellows” RaneNote 124 written 1991 by Dennis Bohn (one of Rane’s owners) — http://www.rane.com/note124.html
“Setting Sound System Level Controls” RaneNote 135 written 1997; last revised 4/05 – by Dennis Bohn – http://www.rane.com/note135.html
Problem is, most DJs don’t care to learn stuff like this and feel like it’s not loud enough unless they hit red 🙁
Thanks Shaun for the more specific details which I didn’t have.
Thank you so much for this information. I had my MP-2015 up and running for the first time yesterday and had to stop because all of initial sound checks started making me confused about what sounded right and why the channel gain inputs were constantly up in the yellow or near +10. I ended up decreasing all gains below the 5 (or 12 o’clock position)…into the negatives because I became really concerned and conservatively cautious trying to keep my peak levels around 0. This is much different from my Xone: DB4 which I don’t go above +3 on the individual channel meters but considering that I could aim for between +7 to +10 peaks, I’m now realizing that powerful sound output that was playing back during all the confusion.
Okay, since I didn’t find the right sound during the confusion, I stopped for the day and said I’d crack open the manual to understand more than I thought I believe. Instead, a day passed and I ended up here only to find the answer to my troubles.
Every thing at the 5 position was pushing into the yellows….Nay sayers, don’t read too much into that but considering the information was not initially known – out of the norm of what we usually practice – I think this information needs to spread further beyond this comment section.
I didn’t get time to read the manual yet but I caught this very same thing happening in the DJTT video and wondered why Ean wasn’t lowering his inputs channels from peaking into the red too.
Considering what my ears told me was right, I have to say that this mixer’s sound quality is amazing. I had just pulled one of my go-to vinyls to ‘reference’ on playback and changed to my performance needles and the playback far exceeds that of my older mixers. I can’t/won’t do an A-B test between this and the DB4, because this is in a whole other category of mixers. It is more true to my original interests, influence and fundamental playing style and the DB4 is taking on a 2nd life for production/experimental things that the MP-2015 will receive on the Session In and maybe temporarily on the FX S/R if I get around to doing that.
Hmm… it sounds like either the float to fixed point conversion is way offset to give a ludicrous amount of real output headroom and the designers are now worried either about losing low-level significant resolution digits in the conversion or in underutilized analog total dynamic range, and/or there’s some fudging of the recommended gain usage now to assuage those unjustified complaints about the mp2015 headphone amp, and/or there’s a limiter’s threshold triggering somewhere in the yellows. On the latter, I can see the meters bounce less dynamically when they are run as you say, which is consistent with a compressor/limiter but I suppose could be just an issue of meter response if there is no limiter.
Either way, if the meter says Overload and that’s not actually its 0dBFS, which is what the meters should be reflecting since every output on the unit, digital or analog, must conform to that fixed-point scale, it’s unprofessional meter application. Furthermore, recommending everyone run every peak at exactly the same spot fundamentally misunderstands the varying RMS of musical content and is bad advice for DJing produced & mastered music. If you have a limiter in the DSP code signal path, please add the option to disable it in the next firmware. I also recommend you add a digital input attenuator setting for the SPDIFs, say, 0dB, -6dB, and -12dB. And the utility option to make the isolator audible in the headphones program signal would also be nice.
Disappointed by this to be honest. They market this as an audiophile mixer but treat consumers and djs like idiots. On the LEDs they also go straight from +7 to +10 and then clip…. This will make it tough to get your levels exactly right for a mix if you want to run as hot as you can… And then it goes 3,5,7 even… I’ll probably just mix at 0 and push the master out a bit harder, at 24bit there’s plenty of headroom to run a bit lower anyway, I’m interested to hear how the master dac out sounds like on this but at least with the session out I can hook up my own dac if I’m not happy with it.
I pre-ordered the first MP2015 to land in Australia and it has been delayed until May while US consumers get it in March…… Not a happy chappy….
Same here. I have tried that approach. The problem with it is that you lose your line level output gain, lets say for a record/session out of the mixer will be well below par. The truth is in order to get the full signal path out of the mixer it is forcing us to ride that one -10 light. Which as I have seen in my tests you can turn the input level around 2 notches and hear an audible change in of about 5 db yet and still be on the same -10 light. Songs come in louder/lower even though this one light is lit.
I personally like distortion (when it sounds good) so I was testing the mixer to see how well it managed pushing levels. Moderate distortion compresses nicely, but really pushing the red does start to see some digital artifacts.
@ Ean : but how is the overall sound quality? Better then anything else at the moment or comparable?
But one is supposed not to be “really pushing the red” even with analog, isn’t he? Furthermore it’s normal to get digital artifacts when clipping in digital, just going over 0 usually, isn’t it?
Once ean responds to your comment, the conversation is suppose to end, how dare you question the almighty ean gold…
for more specific info – see the excellent thread bellow which covers why +8 sounds good on the mixer. in this case, I was using my ears – and the mix sounded good at those levels. To answer your question more directly, there are many cases in which analogue distortion can be a desired musical effect.
Yeah analogue distortion can only sound good when it’s a complete analogue circuitry. As this mixer is digital I think that one will be a no go, as I’m sure you’re aware.
Ean…….can you tell me how the eq’s sounded, also, I know it’s very subjective but how did you compare the sound to a xone 92?
Pics of test signals distorting or it didn’t happen. You could just as easily been sending a crap signal into it, distorting your sound system, or distorting your ears. According to the hardware and specs this should be extremely difficult and just saying it without showing how it happened is unconstructive.
I thought this was a 32bit floating point mixer, so it won’t necessarily ever clip, unless the output stage is doing something weird at or after the DAC. You always have to worry about what the actual DAC and analog output stages are doing. Obviously, past the processing phase on AD/DA conversion, anything past 0dBFS is going to clip abruptly. In the analog stage, that just depends on how it’s set up after the converters — might be gradual, might be abrupt like an old SCM7200 mixer. Does the Rane have a limiter option that can be switched on?
“wain”, “”since the brought the”… edit please
SHUT UP AND TAKE MY MONEY!
Wondering what the pricing will be like in Europe. Lowest i´ve seen offered here was 3399 euro´s. Little steep even for a beast like this.
So far pricing in europe is just ridiculous.
3,4k € which equals 3,6k USD
700 USD more expensive than in the DJTT store.
Just checked with my go-to-retailer that have the unit on preorder. Pricing seems to be right. Wonder what the explanation is for a 700 price difference from Rane. Any word in that DJTT?
Figured it out. Probably has to do with our ridiculous VAT tarifs vs mild us sales tax. My bad rane
crossfader or no crossfader – this mixer looks and probably feels awesome…
This is funny but I’ve had the mixer for a few weeks now and never even thought about the fact it has no crossfader. Guess that shows how much I used it on my MP-2016 🙂
Yeah, it’s not a scratch mixer, it’s a house mixer. I’ve had mine for 2 weeks now. Love every bit of it. Sounds amazing.
It sure does. It’s just so nice to mix on. So much control of the mix.