Korg turned up to Superbooth in a rather coquettish mood this year, teasing attendees with a new synth displayed proudly at the centre of its booth, albeit covered with a blue tarp to mask its identity.

This mystery forthcoming instrument wasn’t the company’s only surprise though, as the Korg also used the show to quietly soft-launch a new addition to its DIY Nu:Tekt range, the NTS-4 – which is now getting a proper release.

The NTS-4 is a six-channel analogue performance mixer. It ships in DIY kit form, like other products in Korg’s Nu:Tekt range, but building the device requires no soldering or electronics experience and according to Korg the build should only take a matter of minutes.

Its six channels are fed via four stereo and two mono minijack inputs. These latter two are equipped with attenuator switches that can flip the inputs between line and Eurorack level operation. There are also stereo send and return minijacks on the mixer’s top panel that can be used to integrate external effects.

The NTS-4 also has internal effects of its own though, in the form of both Send FX and master Total FX. The former can select between delay, ping pong delay, two types of hall reverb, two slap reverbs and chorus. The Total FX has low- and high-pass filters, along with isolator, flanger, phaser, decimator, drive, distortion, compressor and limiter modes.

Each of the six mixer channels is equipped with mute and cue buttons – the latter routed to the top panel headphone output – along with a send level control. The two mono channels also have pan position controls.

The NTS-4 has a pair of unbalanced ¼-inch main outputs on its rear panel. It can also act as an audio interface to stream to Mac, PC or mobile devices via its USB-C port, which is also used for power. The top panel also features a minijack MIDI output that can be used to route MIDI from a DAW or USB device to external hardware.

The NTS-4 isn’t Korg’s first attempt at a desktop mixer. Back in 2018 the brand released the Volca Mix, a mixer companion for its popular collection of compact synths and drum machiners. We were fairly underwhelmed by the Volca Mix, however, due to its fiddly controls and lack of MIDI or USB connectivity.

The NTS-4 looks like it fixes many of the Mix’s failings though, and as a result it has the potential to be a far more competent hub for a Volca setup – or any collection of mini synths you might have to hand.

The NTS-4 is available now priced at $249/€219/£189. Head to the Korg website for more information.

AlphaTheta has launched its latest all-in-one DJ system, the two-channel XDJ-AN, a smaller counterpart to the company’s flagship XDJ-AZ, which is pitched as providing “a natural transition from home DJing to club environments.”

The XDJ-AN has a layout loosely inspired by AlphaTheta’s club-standard CDJs and the popular DJM series of mixers. The idea being that aspiring or practicing DJs can develop their skills on the device at home and then easily make the transition to a club DJ booth.

That layout features many of the same features as the XDJ-AZ, albeit in a smaller and pared back format. Each of the two deck controllers has a 132mm jogwheel complete with play and cue buttons and a tempo fader. The XDJ-AN loses the multi-functional pads of its bigger sibling in favour of eight hot cue buttons that sit above each jogwheel. Each deck also has a rotary for engaging and adjusting loops.

The mixer section has two channels, each with a track fader, trim control, three-band EQ and bi-direction Color knob for engaging the mixer’s Sound Color FX. The XDJ-AN has the same six Sound Color FX as the XDJ-AZ – Space, Dub Echo, Sweep, Noise, Crush and Filter – but trims the list of BMP synced Beat FX down to just three types: Reverb, Echo and Flanger.

Track selection, library management and settings are all controlled via a central 7-inch colour touchscreen.

One of XDJ-AN’s biggest selling points is the broad array of sources from which it can play music. Although it can function as an entirely self-contained unit, the XDJ-AN can act as a controller for rekordbox, Serato DJ Lite and Pro or Algoriddim djay Pro (although the latter two require a separate license to access the full software).

When not connected to a computer, the XDJ-AN can load tracks via USB. It can also work in conjunction with a mobile device running either rekordbox for iOS or djay for iOS.

As with AlphaTheta’s recent CDJ updates, the XDJ-AN also goes all-in on wireless streaming and cloud connectivity. The device itself is equipped with both Wi-Fi and Bluetooth. Rekordbox subscribers with CloudDirectPlay plans can access their library via Google Drive or Dropbox and sync and track data or cue point edits across multiple devices.

Users can also stream tracks directly from Apple Music, Beatport or Tidal – although again, subscriptions are required.

The XDJ-AN also comes equipped with AlphaTheta’s SonicLink tech, which allows for low-latency wireless monitoring using the company’s compatible headphone models.

I/O-wise, the device has RCA and XLR master outputs, a single 3.5mm wired headphone output, and a TRS mic input.

Although AlphaTheta are leaning heavily on the appeal of the XDJ-AN for budding club DJs – and it does, admittedly, look like a nice option for intermediate DJs to practice at home – its compact and lightweight size and abundance of streaming options make it look potentially very convenient for event DJs too.

The XDJ-AN is out now, priced at €1,149 including VAT/£999 including VAT/$1,099 excluding tax/$1,199 (U.S. only, excluding sales tax). Head to the AlphaTheta site for more info.

AlphaTheta has released its latest DJ player, the CDJ-1500X, a trimmed down counterpart to the company’s flagship CDJ-3000X with a smaller footprint and more affordable price.

Like its larger predecessor, the CDJ-1500X can play tracks from USBs but is also equipped with WiFi, allowing users to access a rekordbox library stored in the cloud, or stream directly from compatible services including Apple Music, Beatport and Tidal – although subscriptions are required in all of these remote-access use cases.

As with the CDJ-3000X, the front panel of the unit sports an NFC touchplate, which allows users to quickly log in to a rekordbox account by tapping a mobile device, for instance access on the CDJ.

The player also features the same 10.1-inch capacitive touchscreen as found on its larger counterpart. This lets users browse up-to 15 tracks at once, with preview waveforms. The main waveform view, meanwhile, has visual indicators for track phase position, BPM changes and vocal position.

As with other recent releases from the brand, the CDJ-1500X sees a product line that previously existed under the Pioneer DJ banner moving under the name of the brand’s parent company AlphaTheta.

What’s significant about the CDJ-1500X, however, is it lands at an ‘affordable’ price point that the CDJ line has largely ignored since the release of the XDJ-1000 MkII all the way back in 2016.

It’s a welcome return, meaning that those working in smaller clubs, bars or with personal setups can access the streaming and track browsing features of the latest CDJ models.

The CDJ-1500X also introduces a completely new feature, CoBeat, which is designed to let event DJs manage requests. CoBeat lets DJs or venues create a QR code in advance of their set, which attendees can scan to access a pre-defined library of available songs. Users can then request specific tracks, vote on what gets played next or message the DJ.

Information from CoBeat is displayed on the browse screen of the CDJ-1500X. Audience members can also react to each other’s requests with emojis, or react to the current track being played by the DJ for instant feedback.

Although CoBeat is being launched alongside the CDJ-1500X, the system will be rolled out to other AlphaTheta gear in the future.

The CDJ-1500X is out now, priced at €1,699 including VAT /£1,469 including VAT /$1,599 excluding tax/ $1,699 (only in the US, excluding sales tax).

Head to the AlphaTheta site for more information.

Released in 2013, Ableton’s Push was the hardware that turned its Live DAW into a playable instrument (Ableton never liked to think of it as a controller) and, through various iterations, it's been gracing stages and studios ever since.

The original Push was actually built in collaboration with Akai Pro – Ableton had previously worked with Akai on its APC40 and APC20 Live control surfaces – and was designed to bring something different and more integrated to the market.

However, it was actually the brainchild of Jesse Terry, now Ableton’s Head of Hardware, and in an interview with Powerhouse Museum, he’s now revealed that his original prototypes were built out of Lego.

Discussing his inspiration for the device, he says: “The prototype of Push is like the way I work with samples: I chopped up a bunch of other products and sampled the parts of them that I wanted.”

Terry recalls that he first heard about Live while writing for a music magazine, and was immediately impressed by its flexibility.

“The way you could stretch audio and move it around like a rubber band. I was like, ‘This is the thing that I've been missing.’”

Of Push’s origins, he says: “I bought an electric saw and just started chopping things up to see if I could glue them together and combine their outputs, merge them into one thing. Push was reconciling those worlds of using my hands, playing rhythmically, playing with nuance and swing and the world of the computer which can process audio in such cool and different ways.”

It appears that Terry took particular inspiration from Novation. Looking at the prototype, the pad section is powered by a Novation Launchpad, another official Live controller that was released in 2009, and the upper controls are lifted from a Novation Remote SL Compact. It appears that the Lego was used primarily to house the controls to the left and right of the pads.

“The Lego prototype went through many, many phases of moving buttons around, trying to figure out what was the right ergonomics for it, figuring out where and what buttons we wanted to have to do the different functions,” says Terry. “And it was playful and not permanent. And that's what allowed us to go through so many iterations to get the right thing.”

Push became such a success that it spawned two successors, and the latest version, Push 3, is also available in a standalone configuration that works without a computer.

In 2024, meanwhile, Ableton released Move, another standalone device that’s designed as a portable musical sketchpad.

SUPERBOOTH 2026: Korg is really leaning into baiting its considerable fanbase this year - courting social media intrigue by hiding what appears to be a tantalisingly blue-LED'd brand new synth under a tarp

But while this is obviously designed to pull-focus and have us all scratching our heads, Korg has also quietly pulled a little sleight-of-hand and soft-launched the latest in the Nu: Tekt range of interfaces, the NTS-4 Mixer which features a range of built-in digital effects.

The mobile 10-channel analogue mixer is designed for the stage and non-DAW based performance situations. It sports four stereo mini jack inputs alongside a pair of Eurorack-compatible mono minijack inputs. However, there are a pair of two L/R 1/4 jack outputs.

It’s also able to be used as a USB-MIDI audio interface via a MIDI output socket, or used as an interim for synchronising your external hardware to your DAW.

Each channel provides controls for the basic level, a send dial, mute, cue and, for the mono channels, a pan dial. But the real draw here is those in-built, per-channel digital effects. Based around a dual stereo FX processor, these effect are controllable with a pair of parameters (FX Type and FX Depth). We've yet to hear it in action yet - but colour us curious.

Then there’s a small text display screen, and further knobs on the side for master controls. These include a Cue Balance knob, a USB Audio knob, a volume control for headphone output and a peak dial.

As we say, official info from Korg is scarce right now, but we’ll be taking a closer look at the show later today (keep an eye on our Superbooth 2026 live blog) The NTS-4 will be available, like the previous entries in the range, as a DIY kit.

In the meantime, keep an eye on Korg.com

Teenage Engineering has launched a new hardware mixer to join its EP family of portable samplers.

The EP-136 KO Sidekick is a two-channel mixer with integrated audio interface, making it ideal for connecting portable gear – such as the EP samplers – to a DAW setup. The EP-136 is more than a functional utility though, boasting a variety of creative effects and performance tools more commonly seen on DJ mixers.

As Teenage Engineering says: “The plan was to build a mixer for the KO II but it became more of an effect-box with a built-in sequencer. Quite cool actually.”

Each of the mixer’s two channels has a three-band EQ with three modes – DJ, parametric and studio. There’s also a gain control for each channel along with a three-mode compressor.

Each channel has a dedicated volume fader as well as a cue button, allowing users to preview either channel via the front panel headphone port.

At the bottom of each channel strip is an FX button, used to send either channel to the unit’s effects module. The mixer has six effect types – filter, loop, delay, tape, tremolo and siren.

The effects themselves can be controlled by a bi-directional mod stick and force-sensitive pad along the mixer’s righthand edge. These allow the user to do things like create filter sweeps, apply bursts of resonance or play with loop and tape length/direction. The EP-136 can record inputs from these controls, allowing it to capture automated effect sequences.

In terms of I/O, the EP-136 has two 3.5mm stereo channel inputs, plus a third aux input without a dedicated channel strip. It can transmit eight input channels and four output channels over USB-C, as well as send and receive MIDI.

The EP-136 can run on two AAA batteries or be powered via its USB-C input. It can also be physically connected to other devices in the EP range using small plastic pegs that slot into the sides of each unit (sold separately).

Teenage Engineering’s EP range kicked off in late 2023 with the arrival of the EP-133 KO II – an evolution of the company’s tiny PO-33 K.O!, which was part of the company’s Pocket Operator range. Despite a few limitations, the EP-133 was very easy to love, thanks in part to being far more affordable than many of Teenage Engineering’s other recent releases.

The EP-133 was followed by a run of sequels that have all been more niche and eccentric, including the medieval-themed EP-1320 and reggae-orientated EP-40.

The EP-136 looks like a release with more mass market appeal than those latter entries, and thankfully lands at a temptingly-accessible price point of €/£189. (It’s worth remembering that Teenage Engineering’s last portable mixer landed at an eye-watering price of £1199.)

The EP-136 is available now. Head to the Teenage Engineering site for more.

When it was revealed in January that Native Instruments was involved in preliminary insolvency proceedings, it caused understandable concern among the company’s base of users.

As the developers of Maschine, Kontakt, Reaktor and Traktor, NI is responsible for multiple product lines that musicians rely on day-to-day. Were support to be pulled for these, it would have a major impact not only on users – many who have also invested in system-specific hardware – but on third parties producing sample instruments designed to run within Kontakt’s much-used ecosystem.

What’s more, Native Instruments is the parent company of software brands iZotope, Brainworx and Plugin Alliance, whose plugins – particularly in the case of iZotope – are widely used by producers and audio professionals.

Now the company has released a statement from CEO Nick Williams providing an update on how proceedings are progressing.

There’s not much within the statement that we didn’t already know, but it does appear to confirm a few things that were widely speculated on.

In it, Williams thanks NI users and partners for their support, and reiterates that, “Business continues as usual across Native Instruments, iZotope, Plugin Alliance, and Brainworx. Our products, platforms, services, downloads, and customer service remain fully available.”

The statement continues with an update on the mergers and acquisitions (M&A) process, confirming the widely-assumed fact that a buyer is being sought for Native Instruments, either in whole or parts.

“We are currently in an active M&A process that is progressing well, with strong interest from multiple parties with deep roots in audio and technology,” Williams writes. “We see a clear path to achieve our goal to provide continuity for creators, customers, and partners.”

Elsewhere, Williams writes that, “As part of the restructuring process, Native Instruments GmbH and a number of our German entities will shortly be moving through expected legal steps, including transitioning from ‘preliminary insolvency’ into formal ‘insolvency’ proceedings where applicable.”

The reference to German entities here appears to align with a comment made on Facebook in January by Plugin Alliance General Manager Mo Volans, which stated that, “As of today, Plugin Alliance entities are not part of the insolvency filing. Our operations in Langenfeld and the US remain outside these proceedings.”

iZotope is based in Boston and operates as Native Instruments USA, Inc.

Read the statement from Native Instruments CEO Nick Williams in full below:

“I want to share a direct update on the restructuring process underway here at Native Instruments. Business continues as usual across Native Instruments, iZotope, Plugin Alliance, and Brainworx. Our products, platforms, services, downloads, and customer service remain fully available.

“The support we are receiving from our partners, artists, and community has been extraordinary. This loyalty isn’t something we take for granted, and it’s a reflection of what Native Instruments means to the people and businesses we work with every day.

“At the end of January I said: “We are working diligently and responsibly to secure a healthy, financially sustainable future for Native Instruments.” This remains true - and our determination to achieve a sustainable future is strengthened and energised by your support.

“We are currently in an active M&A process that is progressing well, with strong interest from multiple parties with deep roots in audio and technology. We see a clear path to achieve our goal to provide continuity for creators, customers, and partners.

“As part of the restructuring process, Native Instruments GmbH and a number of our German entities will shortly be moving through expected legal steps, including transitioning from “preliminary insolvency” into formal “insolvency” proceedings where applicable. These are expected steps in the process we are working through.“What gives me confidence in our future isn't just the progress we're making - it's also the extraordinary passion and dedication of the entire team here at Native Instruments. We continue to deliver every day, building and shipping products, and looking after our customers.

“We’ll continue to share significant updates as we have them.”

What is it?

Arturia’s KeyStep range is a line of controller keyboards with a step-sequencer focus, and the new KeyStep 37 mk2 is the latest model. Offering a more performance-focused alternative to their KeyLab controller keyboards, the KeyStep devices are designed for use in both standalone and DAW-based setups.

Although visually similar to the KeyLab controllers, closer inspection reveals a bunch of features aimed at sequence creation. Meanwhile, on the back, support for CV, MIDI and USB formats means you’re all set to simultaneously control multiple types of devices.

Let’s take a look at the layout. The KeyStep 37 mk2 is built around a quality slimline keybed with velocity and aftertouch. On the left-hand side, you get ribbon-style modulation and pitch bend alongside octave shift and note Hold. A further blue Shift button provides additional functionality.

The top panel, which has been considerably reworked since the previous version, is centred on a mini OLED screen with push button rotary encoder. You’ll find various RGB backlit buttons on either side of the screen, and 4 rotary encoders on the right. Meanwhile, a line of 39 note-indicating LEDs accompanies the keys.

Back panel connectivity includes MIDI in and out, 4 CV outputs (pitch, gate, mod1 and mod2), pulse synchronisation (in and out), USB-C, sustain pedal input and on/off switch. Power is provided either via your USB-C connection or by using a regular USB-C power supply (this needs to provide 5V at 100mA). Alas, there’s no included PSU, but you do get a rather nice 2m Arturia-branded USB-A to USB-C cable.

Also included are licences for Ableton Live Lite and Arturia’s Analog Lab Intro instrument. Overall product management and activation is handled using Arturia Software Centre, and firmware upgrades and many device parameters can be set using Arturia’s MIDI Control Centre desktop app.

Performance

Much like its predecessor, KeyStep 37 mk2 is a single-track sequencer with step and real-time options and sequence and arpeggiator modes. However, with the removal of the physical arp and sequencer knobs, from an operational perspective, things have changed quite a bit. Now, buttons work alongside the OLED-based menu, which provides access to both settings and real-time parameter feedback. Meanwhile, holding down some buttons gains access to secondary functions. Global functions such as clock and transport mode (main/secondary) are now menu settings rather than real panel dip switches. Impressively, the 4 rotary encoders work with both the MIDI CC and Control buttons.

For MIDI CC output, the encoders have 4 banks, cycled through using the MIDI CC button. The Control button provides quick encoder access to parameters for the Sequence, Arp, Mutate and Chord modes once they are selected. The Shift button adds a further layer of settings and options across all the buttons, keyboard keys and rotary encoders. Thankfully, labelling is good and coupled with the OLED feedback and task-specific RGB button backlighting, it’s pretty easy to see what’s happening.

Much like the latest KeyStep mk2, the KeyStep 37 mk2 has some excellent creative features that help you enhance and manipulate patterns. For example, the Shift button, combined with the pitch and modulation ribbons, accesses the Gate and Spice features, respectively. The latter adds pattern variation with an optional dice feature (3 taps of the modulation strip) for randomisation of the outcome. However, of most interest is the Mutate feature, which is based on Arturia’s Minifreak option.

Designed to add a degree of musical randomness, it affects note length, swing, pitch and polyphony and can be applied repeatedly to sequences and arpeggios, but also completely reset back to the starting point. On the KeyStep 37 mk2 Mutate has extended functionality via the 4 encoders, allowing you to set parameters to influence the outcome. These vary slightly depending on which arp or sequence mode you’re using, but in essence, you have control over things such as probability, randomness, polyphony and density.

Verdict

The KeyStep 37 mk2, much like its smaller sibling, is an excellent upgrade and great fun to use. If you can afford the extra spend, the new encoders and particularly their excellent implementation make this the more desirable unit.

Hands-on demos

Arturia

Alternatives

Specifications

Native Instruments is in preliminary insolvency proceedings, according to documentation reported by Create Digital Music. According to that report, a preliminary insolvency administrator has been appointed, who will take responsibility for restructuring the company and any sale of existing assets.

The German music technology brand, known for era-defining products such as Maschine, Massive, Traktor and Kontakt, has been through numerous changes over the past decade. Between 2019 and 2020, the company experienced a rocky period involving staff layoffs, a company restructure and criticism from ex-employees.

In 2020, the company’s Co-Founder and CEO Daniel Haver and Chief Innovation Officer and President Mate Galic stepped down from their leadership roles, beginning a period of shifting leadership and structure within the brand. Since 2021, investment firm Francisco Partners has had a majority stake in Native Instruments.

That time period has also seen the company acquire two significant software brands, iZotope – known for the likes of Ozone and RX – and Plugin Alliance. The brands were initially merged under an umbrella brand named Soundwide, before all being brought under the Native Instruments brand name.

At the time of writing, it’s unclear what any of this will mean for Native Instruments' customers, products or staff. It is also unclear how brands owned by Native Instruments – iZotope, Plugin Alliance and Brainworx – will be impacted.

Both iZotope and Native Instruments produce product ranges that many producers and musicians rely on on a day-to-day basis, such as Kontakt sample libraries, RX post-production tools, Traktor’s DJ library or the Maschine ecosystem. Users will be understandably eager to learn whether these will be supported on an ongoing basis.

Despite the turbulence in its management structure, recent years have seen Native Instruments and iZotope release some excellent products. We were pleasantly surprised by both the latest version of NI’s Traktor DJ software, and its recently released MX2 controller.

Just recently, Native Instruments revived its much-loved soundscape-friendly softsynth Absynth, for a new version that MusicRadar’s Andy Price described as “a spectacular, unexpected comeback that goes straight for the modern sound designer’s heart.”

We will bring you updates as soon as more is revealed about the future of the company and its products. Given the company’s storied history, much-loved music making tools and many hardworking employees, we hope to see a positive resolution for all involved.

We have reached out to Native Instruments for comment.

NAMM 2026: Since Roland launched its original Go:Mixer, back in 2017, the demand for devices that enable you to record multiple high-quality audio sources to your smartphone - for video or anything else - has only increased.

Livestreams and social media ‘reels’ are, of course, the new rock ‘n’ roll (OK, they aren’t) and being a ‘content creator’ is now an actual job (though probably not one that your parents will understand if you try and tell them what it is you do for a living).

So now, after a couple of Go:Mixer Pro devices, Roland has introduced its most comprehensive model yet: the Go:Mixer Studio. Said to be a “studio-grade audio mixer and recording interface,” this is compatible with iPhone, iPad Mac and Windows, though there’s no mention of Android.

Go:Mixer Studio has 12 input channels and six outputs, and you can record at up to 24-bit/192kHz quality. There are also built-in effects - a 3-band EQ, a compressor and a reverb - which can be used for recording or just monitoring. Mixer setups can be stored in 16 scene memories.

The selection of inputs should cover most eventualities: there are two XLR mic/line inputs with mic preamps; a dedicated guitar/bass input; and 1/4-inch inputs for stereo sources such as a keyboard, electronic drum kit or anything else you might be wanting to record. Further stereo sources can be plugged into the aux input, which has TRRS support for bidirectional audio with mobile devices. There’s MIDI I/O, too.

Monitoring connectivity includes a 1/4-inch headphone jack and a further mini-jack output for your wired earbuds. This supports a headset or inline mic, giving you a further recording source to work with. If you’re back in the studio, you can use the 1/4-inch line outputs to plug into your speaker setup.

The Go:Mixer Studio’s control panel looks nice and clean, with just a few knobs and buttons below the display. You can also take control using the Go:Mixer Cam iOS app, which enables you to capture both multitrack audio and video. Every input can be mixed from here, and you can also export the multitrack audio files for use in your DAW or video editor.

PC and Mac users can also take advantage of the Go:Mixer Editor, which puts all of the device’s parameters on a larger display.

Power can be drawn from your device, an adapter or a USB battery pack (there are two USB-C ports so you can connect and plug in a power supply at the same time) and you can mount the Go:Mixer Studio on a tripod if required.

We can imagine a lot of scenarios where the Go:Mixer Studio could come in handy, whether you’re making video or only recording audio. All it's missing is SD card recording capabilities, but maybe that's something for the Go:Mixer Studio Pro. It’s available now priced at $299, and you can find out more on the Roland website.

What is it?

Choosing headphones can be a tricky process, with various different design types to consider as well as comfort, robustness and, of course, overall sound. Rode Microphone’s latest headphone addition is the NTH-50, and this on-ear design offers an alternative to their larger and more studio typical NTH-100 over-ear headphone.

Featuring a reasonably lightweight and low-profile form factor, the NTH-50 has an underlying aluminium frame construction coupled with a uniform matte black finish. Subtle Rode branding completes the picture for a robust and stylish design. Further aspects include custom-matched 40mm drivers with a resonant chamber configuration, detachable locking cable with connection to either ear cup, and soft memory foam ear cushions.

You’ll also find a padded headband with a contoured fontanel recess, which is designed to improve head top comfort. In the box you also get a storage pouch, ¼” jack adapter and a set of Rode’s colour ID clips, which you clip onto the plugs to help personalise multiple headphone cables. Finally, it’s worth noting that despite its competitive price tag, the NTH-50 is both designed and made in Australia and once registered, also includes a reassuring lifetime warranty.

Performance

Out of the box, the NTH-50 feels very well made, and at 220g is reasonably light. In typical Rode style, there’s plenty of branding, but it’s tastefully done and sets the NTH-50 apart from the plethora of generic designs now available. It’s also clear plenty of thought has gone into more practical design aspects. The part coiled, part straight cable is an obvious example, achieving the convenience of a coiled design but without the weight of a fully coiled cable. Meanwhile, the screw locking ¼” adapter and ear cup locking plug both ensure a reliable connection.

Ear cup left/right identification is easily achieved using the colour-coded cable connectors (left black, right red), meanwhile L and R braille labelling on the underside of each ear cup provides further assistance.

The NTH-50 has a pretty snug fit with good clamping. Ear cup adjustment is easily achieved and the headband has enough twist to accommodate most users. That said, the ear cups themselves have limited rotation and do not fold away, so if you’re a DJ wanting those features, then look elsewhere. For maintenance and cleaning, both the earpad and headband assemblies are quite easy to unclip and remove, and when the time comes for replacements these are available directly from Rode.

Sonically, the NTH-50 has a reasonably balanced delivery. There is some boost to the lower frequencies, but this is not too excessive. Whereas the higher frequencies are quite smooth and not boosted. We would say the mid-range is also not too forward, and the overall tonality means the NTH-50 is suited to a wide range of musical styles, including rock and guitar productions as well as contemporary beat-heavy sounds.

Detail is also well presented and the stereo image is precise. The headphone also continues to deliver plenty of punch even at high volumes. If you couple this with the natural high-frequency delivery, the NTH-50 is also not too fatiguing even at higher monitoring levels. It’s worth noting that despite being an on-ear design, the NTH-50 also offers pretty good passive isolation.

Verdict

Overall, the NTH-50 offers a good combination of comfort and sonics in a lightweight design. For reasonably affordable headphones, they’re also very stylish with excellent build quality.

Hands-on demos

RØDE

Alternatives

Specifications

NAMM 2026: Rane has launched the System One, a new flagship all-in-one DJ system that boasts motorised turntable-style platters and the ability to mix between tracks from physical storage devices and streaming services.

While standalone DJ systems are nothing new, most products on the market, particularly at the top end, tend to be aimed at club DJs, opting for CDJ-style jogwheels and multi-deck control. Offering something of an alternative, the System One takes its cues from Rane’s popular One MkII controller, which is an established favourite with scratch and open-format DJ – ie those that tend not to stick to a specific genre or tempo.

The key selling point of the Rane One, carried across here, is its 7.2-inch motorised platters. Although smaller than a proper turntable, these aluminium high-torque platters spin and respond like the real thing, including a top surface that emulates the look and feel of a vinyl record.

Like its controller counterpart, the System One’s platters are accompanied by brightly-backlit performance pads that can be used for hot cues, sample triggering, beat rolls and stem mixing. Eight OLED displays sit above these pads and provide visual feedback on things such as cue points, assigned samples and roll divisions.

The mixer section has two channels, each with a three-band EQ, blended using the Mag Four crossfader and Precision Feel channel faders.

Where the System One most obviously differs from its controller predecessor is in the inclusion of a central 7-inch HD touchscreen. This is the primary way the user interacts with the onboard OS, with colourful waveform displays along with a host of easily-accessible features for library management, effects control and mixer settings.

The System One runs on Engine DJ, the embedded DJ platform originally developed by Rane’s InMusic stablemate Denon. Although it started life as an OS for Denon DJ gear, Engine DJ has grown into a comprehensive cross-platform app, which runs on desktop as well as inside a variety of Denon and Numark devices.

Part of the System One’s overt pitch for open-format DJs lies in its so-called OmniSource architecture, which is designed to make it easy to mix with tracks from a variety of sources, whether they be physical drives or cloud streaming. The System One is WiFi-equipped and capable of streaming music from Apple Music, Amazon Music Unlimited, TIDAL, Beatport, Beatsource, SoundCloud Go+, and Dropbox.

The System One will also offer Serato DJ and Algoriddim DJ compatibility, both of which have Spotify integration. System One users also get an unlock of Serato DJ Pro included.

The internal OS also allows for some impressive effects features. The unit offers over 25 internal main effects that can be activated by a pair of paddles in the mixer section. Alongside these, there are five rotary-controlled sweep effects, 10 touchscreen effects and four fader effects.

The System One has a comprehensive selection of connectivity, including XLR and RCA main outputs, as well as ¼-inch booth and Bluetooth outputs. On the input side, the System One has a switchable Bluetooth/RCA aux with front-panel control along with two XLR combo mic inputs with EQ, echo, reverb, talkover, and anti-feedback functions. There is also a built-in 10-band EQ for both main and booth outputs.

“With Rane System One, DJs no longer have to choose between the trusted feel of motorized platters and the freedom that a standalone DJ unit provides,” said Morgan Donoghue, VP Marketing, DJ Brands at inMusic. “System One embodies Rane’s legacy of innovation, delivering the first device of its kind and setting a new benchmark for professional DJ performances.”

The Rane System One is out now, priced at $2,499/€2,499/£2,199. Head to the Rane website for more details.

NAMM 2026: Pioneer DJ’s DJM-V10 is one of the most popular pro-level DJ mixers on the market. Along with the likes of Allen & Heath’s Xone:96, Pioneer’s all-singing, all-dancing flagship is a common choice for DJs playing major clubs or big festival stages.

With six-channels and a price point in the region of $/£3k, the V10 is unnecessarily big and expensive for home DJs or use smaller booths. Now it’s getting a compact and (slightly) more affordable sibling, which offers a similar design ethos and many of the same features in a three-channel format.

Enter the DJM-V5. As with the recently announced RMX-Ignite, the launch sees a product range that was previously branded Pioneer DJ moving under the AlphaTheta banner (for those that haven't been keeping up, it's the same company undergoing a somewhat drawn-out rebrand).

Although it halves the number of channels, the V5 maintains the advanced effects features of its bigger sibling. Each channel has access to a four-band EQ, a compressor, filter and effects send.

The mixer also offers the same audio quality as the V10, with what AlphaTheta describes as ‘studio-grade’ 96kHz/64-bit DSP processing and 32-bit A/D and D/A converters from ESS Technology built into the channel inputs and master output.

The channel filters can be switched between three different modes: low-pass, high-pass and cross-pass. This latter mode is designed to sweep the mid and high frequencies while leaving presence in the low frequencies.

According to AlphaTheta, this allows for “both subtle and dynamic control” perfect for “adding variation to vocals or melodies without compromising the track’s energy and enabling entirely new styles of performance.”

The V5 also has 60mm long-throw channel faders designed to allow for more subtle and nuanced mixing. It also features a new Soft Mix Curve fader mode, which AlphaTheta says "automatically applies subtle high-frequency attenuation to create smoother, more natural blends."

On the effects front, the V5 has six send effect options: Short Delay, Reverb, Shimmer, Tape Echo, Ping Pong, and Echo-Verb. These can be adjusted using a time knob, which controls both the timing and decay of effects, and responds with a context specific clicking mechanism for tactile feedback.

When used with a delay, the control will click to indicate timing divisions synced to the master tempo. When used with a reverb the control removes the clicking mechanism in order to smoothly adjust decay.

Other noteworthy features of the V5 include a built-in SonicLink receiver, for use with AlphaTheta’s minimal-latency HDJ-F10 wireless headphones. The unit also has a ‘multi I/O’ USB-C port, which can be used to connect an iOS device or for single-cable connectivity with the RMX-Ignite. The rear USB-C port, meanwhile, allows for plug-and-play Serato compatibility and DVS use.

Along with its channel inputs and main outputs. The V5 has a stereo pair of ¼-inch TS jacks ports for both a send output and return input, allowing DJs to route an external effects loop. There is also a combination XLR/TRS mic input, two headphone outputs and a booth output with its own 2-band EQ. The V5 also has a LAN port for use with AlphaTheta’s Pro DJ Link system.

The AlphaTheta DJM-V5 is out now, priced at €1,999/£1,739 including VAT, and $2,199 excluding sales tax in the US, or $1,999 excluding tax in Canada and Latin America. Head to the AlphaTheta site for more.

NAMM 2026: AlphaTheta has unveiled a new DJ-focused effects processor and performance sampler, the RMX-Ignite.

The RMX range was originally established under the Pioneer DJ name in the early-2010s, with the launch of the RMX-1000. That unit – which was later joined by a smaller sibling, the RMX-500 – proved popular with both DJs and producers for its ability to quickly apply rhythmic and modulated effects to incoming audio.

In more recent years, both models have gained popularity among hardware live performers and ‘DAWless’ musicians, as a means to access software-style effects processing without the need to run through a computer.

Now the RMX range has been relaunched under the AlphaTheta umbrella. The RMX-Ignite significantly redesigns the format, and represents something of a step up in terms of both capabilities and price point.

In the words of AlphaTheta: “More than a decade after the launch of the RMX-1000 – the model released in 2012 that’s still highly respected by top DJs worldwide – this completely renewed effector combines dynamic sound-shaping control with advanced effects to enable new levels of live performance."

The Ignite is broadly divided into three sections. To the right hand side of its interface are two effects sections, each of which are split into low, mid and high frequency bands.

The upper section is labelled ‘Lever FX’, so called because its effects are engaged by flipping three chunky paddles. This section can make use of six effect types, labelled Echo, Reverb, Juggle, Reverse, Solo and Stretch, each of which can be refined using a sub parameter knob.

These effects are applied differently depending on the direction the user pushes each level. When pulled downwards, the effects are only applied while the level is held in position and disengage as soon as the user lets go. By pushing a lever upwards, the user can latch an effect so that it’s held until manually disengaged.

The lower section of the effects, meanwhile, is labelled Isolate FX. These are engaged using a trio of bi-directional knobs that function much like the Color knobs found on DJM mixers, which let users sweep through effects to adjust the amount or character.

The effects offered by the Isolate section are Tape Echo, Reverb, Drive, Filter, Ducker, and Rhythm. Again, a sub parameter control lets users adjust the character of each.

The third main section of the RMX-Ignite is its sampler, which sits to the left of the control interface. Here users have access to four sample pads, each of which is capable of playing four samples simultaneously. The sample section has a Sample Roll function that triggers samples at rhythmic intervals at different timing intervals. These intervals can be combined to create more complex rolls and patterns.

The sampler has an overdub feature that lets users capture simple single-bar loops. Samples can also be processed using a dedicated Sampler Color FX processor, with Echo, Space, Filter, Pitch, Decay and Swing modes.

The RMX-Ignite comes loaded with a factory library featuring vintage drum machine sounds. Users can easily load their own sample collections via USB or Pro DJ Link, and make use of a dedicated RMX-Ignite Sample Manager application.

The Ignite’s final major feature is its Release Echo function, controlled by a large pad to the right of the interface. This is designed to smoothly reset effects and samples back to the original dry audio, while applying an echo tail to smoothly transition out of any effects.

This works in two ways – dry, which smoothly transitions back into the unprocessed audio, and mute, which mutes all incoming audio while the Release button is pressed in order to create a more dramatic transition.

The RMX-Ignite can process audio via classic analogue connections, with stereo TS jacks for both input and output. The unit can also be hooked up digitally to AlphaTheta’s DJM-V10 and DJM-A9 mixers, by connecting a single USB cable to the mixers’ Multi I/O terminal that will function as a single digital send/return.

The Ignite supports Pro DJ Link for BPM and beatgrid sync to other DJ gear. It’s also possible to load samples directly from USB drives or SD cards plugged into players connected via Pro DJ Link.

AlphaTheta is also touting the jump in audio quality compared to previous RMX units, with Ignite offering 96 kHz/64-bit DSP processing, along with 32-bit A/D and D/A converters from ESS Technology on the input and output.

The RMX-Ignite is out now, priced at £1,039/€1,199 including VAT or $1,199 excluding tax. Head to the AlphaTheta site for more.

What is it?

Arturia produces some of the best and most stylish control keyboards and control devices available. Its KeyLab controller keyboards come in an array of sizes and performance at multiple price points. KeyStep is a parallel product that focuses on real-time step sequence and arpeggio creation and is aimed at those working with a hybrid or even DAW-free setup. Options include the original 32-key design as well as a 37-key version and KeyStep Pro, which is a 4-track design.

KeyStep Mk2 is a considerable overhaul of the 32-key version, nevertheless it still has some aspects in common with the original controller. It features the same slimline keybed, with velocity and aftertouch. Meanwhile, you get ribbon-based control of modulation and pitch bend to the left and dedicated octave buttons just above. Step sequencing is a single track with 8-note polyphony per step.

There have been some changes to connectivity, which now includes MIDI in and out, four CV outputs (pitch, gate, mod1 and mod2), pulse synchronisation (in and out), and USB via USB-C. There is simultaneous output from all outputs. Further back panel options include sustain pedal input and on/off switch. Power is provided either via your USB-C connection or by using a regular USB-C power supply (this needs to provide 5V at 100mA).

You’ll find KeyStep Mk2’s biggest changes are on the top panel, and these are primarily down to the removal of the three physical arp/sequencer controls. Indeed, the whole top panel has been redesigned to incorporate the new mini OLED screen, push button encoder and RGB backlit soft buttons. The panel buttons work in conjunction with the OLED-based menu, but also extensively via the Shift button. The Shift also works in conjunction with the keyboard keys to select patterns/arp modes, sequence banks and rate. You even get an Undo option that works when recording patterns.

Performance

Although KeyStep Mk2 is primarily a sequence and arpeggio creation device, it can also work as a straight-up MIDI controller keyboard. Meanwhile, you can incorporate KeyStep Mk2 into your setup as both a clock and transport master or slave. On the original KeyStep, setting this up required fiddling with the back panel dip switches. Thankfully, this is now handled via the OLED menu, as are many further settings.

As you might expect, the reworked top panel directly affects KeyStep operationally, and although options such as tempo are easily set via the metronome button and encoder, this is less immediate than the original physical knobs. However, this is a minor inconvenience, and the panel upgrade now includes more creative options. Two of these – Gate time and Spice – are Shift options that are assigned to the pitch bend and modulation ribbons, respectively. Spice is a pattern variation feature that influences both sequences and arpeggios. As you increase the modulation ribbon, the variation becomes greater, meanwhile returning the modulation to zero returns to the original pattern. Tapping the modulation strip three times activates Dice mode, which further randomises the Spice outcome.

The other main generative feature is Mutate and this primarily influences the notes played. A short press of the Mutate button creates small changes, but holding the button down longer and changes become much greater. This is great for adding more left field pitch changes to a sequence. However, if you don’t like the outcome, you can simply use the handy Reset option to return to the original.

Verdict

Overall, the KeyStep Mk2 is a well-designed and creative sequencer. With an expanded feature set for real-time sequencing and performance, it offers a straightforward yet well-featured entry point for anyone wanting to control a hybrid sequencing setup.

Hands-on demos

Arturia

Alternatives

Specifications

UK modular brand ALM Busy Circuits has released a new module, Pamela’s Disco, which allows users to connect a modular system up to a DJ setup via Pro DJ Link.

Disco is a sister module to ALM’s popular Pamela’s Workout range of clocking modules. It’s a simple 4HP module with a LAN input for connecting to DJ gear, plus four analogue outputs – DIN sync-style x24 and Run analogue clock outs, plus Beat and Bar trigger outputs.

Pro DJ Link is a system found on a variety of Pioneer DJ and AlphaTheta products that allows multiple DJ devices to be synchronised using ethernet connections, USB or wi-fi. Pamela’s Disco allows users to connect any ethernet-equipped Pro DJ Link device to a modular system, and convert the incoming master clock into a modular-friendly analogue signal.

Although Disco is designed for use with any Pro DJ Link device, ALM states that the module has only been fully tested with the XDJ-700, XDJ-1000MK2 and CDJ-3000.

Along with its inputs and outputs, Pamela’s Disco has lights to indicate the beat and incoming connection status, along with a button to resync the clock. ALM describes it as an “easy ’just works’ setup with no configuration.”

Despite its simplicity, Pamela’s Disco looks like an enticingly useful device for any DJs and producers looking to dabble in a little live modular alongside a DJ set.

As ALM puts it: “Compact and easy to set up, the Disco opens up new performance possibilities – mix, overdub, spinback and scratch, all locked in time with your modular.”

Pamela’s Disco has a depth of 32mm and is described as ‘skiff friendly with reverse power protection.’

The module is available now priced at £175. Head to the ALM Busy Circuits site for more info.

Launched in 2018, Serato Studio was originally pitched as an entry-level DAW designed to lower the learning curve for DJs getting into music production. With an interface loosely based on that or Serato’s DJ software and an emphasis on loops and samples, it was designed to allow musicians familiar with the basics of dance music construction to build track ideas quickly.

Now at version 2.5, while still simplified compared to most DAWs, Studio is a well-rounded music production tool offering audio and MIDI recording, step sequencing, automation, built-in instruments and effects, plugin support, stem separation and more.

Now Serato, with the help of AlphaTheta, has launched Slab – its first hardware product and the first dedicated controller for Serato Studio.

Although it was already possible to map controllers to Studio, Slab aims for a slick plug-and-play workflow that mimics the intuitive and user-friendly experience of the software. The hardware itself has been created in collaboration with AlphaTheta, a brand with experience of bridging the gap between DJ and production hardware.

Slab is a pad-focussed controller laid out in the style of Akai’s MPCs and Native Instruments Maschine. Its main interface element is a grid of 16 velocity- and aftertouch-sensitive performance pads. These pads are flanked by a variety of other control elements including four rotary encoders, a touchstrip and a variety of buttons for switching between Studio’s various functions.

To the left of the hardware is a large transport section featuring sizable play and record buttons, and a chunky dial used as the primary browsing/navigation tool.

This dial can also make use of a handy feature called Focus Control, which allows the user to hover their mouse cursor over any parameter within Studio or a third-party plugin, and then adjust that parameter with Slab’s main dial, allowing for quick tactile control without the need for MIDI mapping.

Slab’s pad grid can be used in a number of different ways, including triggering sample slices and step sequencing, as well as a Pad FX mode, which allows users to layer and manipulate multiple effect types across the 4-by-4 grid.

Although Slab is primarily designed for use with Serato Studio, it can also be used with Serato Sample and Serato DJ Pro.

In all three applications, the controller can be used for hands-on control of the software’s stem separation features, allowing users to adjust the volume of individual stems with the device’s four rotaries – a feature that could make it a potentially handy additional controller within Serato DJ setups. DJ Pro users can also use Slab to control other performance features within the software.

Although it’s clearly capable of undertaking a variety of tasks, Slab is also notable for how stripped-back it looks compared to the latest generation MPCs and Maschines. That simplicity is clearly by design though, with its creators aiming for the same approachable learning curve as that of the Studio software it accompanies.

As the tagline on Serato’s official website states, “The best MIDI controller setup isn’t about having more—it’s about staying connected to what matters. SLAB keeps your head in the game, and your hands on the beat.”

Yoshinori Kataoka, President and CEO of AlphaTheta Corporation, said: “This product was designed to empower DJs, artists, and creators to explore new creative possibilities and more intuitive ways to make music. From people who want to make their first-ever track to experienced producers, we can’t wait to see how music lovers around the world will use SLAB to turn their ideas into sound.”

The Slab hardware itself is compact and lightweight, with a footprint slightly smaller than an A4 piece of paper and less than 50mm thick, weighing in at 1kg. It connects to a computer via USB-C, which also provides power.

Slab is priced at €299/$299/£259 and includes a full license for Serato Studio. Head to the Serato site for more.

What is it?

With the launch of Traktor Pro 4 late last year, Native Instruments added important features to its DJ software to bring it in line with its key competitors. That included creative tools like stem separation, but also important functionality like flexible beatgrids, a modernised UI and improved performance that meant it no longer felt like it was lagging behind its competitors.

It’s fair to say that Traktor Pro is no longer the market leader it once was, although that’s not necessarily a bad thing. Its biggest selling point in 2025 is that, unlike rivals Serato and Rekordbox, Traktor doesn’t offer a variety of subscription plans or add-ons. The Pro version retails for a single, reasonable price point, making it a particularly attractive option for hobbyist or infrequent DJs who want a comprehensively-equipped, user-friendly DJ app without being tied into a subscription plan.

The MX2, NI’s first proper new mixing controller since 2019’s Traktor Kontrol S3, fits neatly into this narrative. Feature-wise, the MX2 is neither the most advanced or cutting-edge controller on the market, but it’s smartly designed and does an excellent job of offering plug-and-play control over the core capabilities of Traktor Pro 4.

Performance

The most obvious sticking point for those considering the MX2 is likely to be the fact that it is only 2-channel. I’d assume this is because a 4-channel MX4 model is likely on the horizon, but there’s no overlooking the fact that at £350 the MX2 is pricey for a 2-channel device (although the inclusion of the full version of Traktor Pro 4 softens this blow a little).

It’s a shame that the MX2 doesn’t have some kind of dual layer functionality in order to offer basic control of decks C and D. Although it’s primarily a 2-channel controller aimed at entry to intermediate-level DJs, with the addition of stem decks and the Pattern Player step sequencer, there’s more reasons than ever that a DJ at this level might want to try incorporating a third deck into a mix.

Given that – as we'll get to – the MX2 has surprising depth elsewhere, it feels like a more noticeable omission than on some rival entry-level controllers. If you can live with that main limitation though, everything else about the MX2 is impressive.

The hardware itself is lightweight and plasticky but doesn’t feel cheap in the way that some entry-level controllers do. The MX2 is a little bigger than the previous generation Traktor Kontrol S2, primarily in order to pack in an extra bank of controls that give hands-on access to the effects and Pattern Player. Despite the extra elements, the interface feels nicely spread out with decent sized buttons that don’t feel fiddly.

The jogwheels are nicely sized and feel good for a controller at this price point. The MX2’s wheels can be used in two modes. The first is a CDJ-style mode where the whole wheel functions as one for nudging and scanning through tracks.

The second is a turntable-style mode, where the edges are used to nudge a track back-or-forth in time, while the top plate stops and holds playback, like holding your finger down on a vinyl record. As such, the MX2 feels surprisingly good for both old-fashioned beat matching and simple scratching.

The faders are probably the weakest element of the hardware design. They’re fine and do their job well enough, but don’t feel particularly robust. The pitch faders for each deck are fairly short too, making precise pitch adjustments a little fiddly.

The look of the MX2 hardware itself is smart. Without power on it’s all black to the point that it's difficult to differentiate between controls, but that all changes as soon as the unit is plugged in and connected to the software. Every control is brightly lit in a way that makes navigation clear without looking garish, and the colours are mostly customisable within Traktor’s preferences.

The LED lighting comes in handy in a variety of ways too. Each mixer channel has its own volume meter with peak indicator, which is useful for managing track levels.

I’m a particular fan of the implementation of backlighting, which uses coloured lights placed below each edge of the hardware to indicate what’s going on with each deck. This setup is customisable, but by default it uses green lighting to display when a deck is playing and red to show if a deck is out of sync or reaching the end of a track. Again, it looks smart and provides a genuinely useful visual cue.

The MX2 also sounds excellent for an entry-level controller. It acts as an interface for the Traktor Pro software, connecting to a computer via USB-C with RCA and stereo mini-jack outputs for connecting to speakers. The sound is loud and impressively clear. There’s also a rear panel mic input and both ¼ and ⅛ inch headphone ports on the front edge.

Despite being an entry-level device, the MX2 does a good job of incorporating Traktor’s more advanced features. The performance pads below each deck can be switched between cue point, flux looping and Pattern Player modes, the latter of which lets them act like a rudimentary drum machine.

The pads can also be used with Traktor’s stem functionality, allowing users to mute individual drum, bass, vocal and ‘other’ elements, as well as individually adjust levels and apply filtering.

I really like the way the MX2’s top panel controls interact with Traktor’s effect modules and Pattern Player, which can be assigned to the two channels interchangeably. The effects setup is simple, with a bank of buttons to turn effects on and off, and four rotaries to control levels and parameters, but it’s easy to use and thoroughly capable.

These can be used alongside the mixer’s central effects unit, filter and three-band EQ, all of which combine to bring a decent amount of depth to the device.

Verdict

Nothing about the MX2 feels like a massive leap forward – there’s certainly no flashy features like the ‘tactile’ jogwheels added to last gen’s Traktor Kontrol S4. However, in use you get the impression that this is a controller designed by someone with deep knowledge of the software and a sensible grasp of how DJs might interact with it.

Although the MX2 is entry-level in terms of its price point, the implementation of effects, Pattern Player and stem control mean that there’s a decent level of advanced functionality on offer too. In the same way that Traktor Pro’s single price point and user-friendly interface make it appealing for home use, I can see the MX2 appealing to more advanced DJs looking for a convenient and compact at-home controller to test out tracks and mess around with mix ideas.

On this latter point, the recent implementation of the new OneLibrary format into Traktor has the potential to make the software considerably more appealing on this front. The new cross-platform format will allow users to export tracks from their Traktor library, complete with beat grids, metadata and cue points, for use with AlphaTheta CDJs and players (although at the time of writing, the rollout has hit some speedbumps).

If you can live with just two channels, there’s a lot that impresses about the MX2. Personally, I look forward to trying the inevitable MX4.

Hands-on demos

Native Instruments

Alternatives

Specifications

You can practice your mixing skills and fancy performance tricks all you want, but ultimately the key to a great DJ set is good admin. Sure, you might always know the perfect track to throw into a mix next, but what use is that if you can’t find it in your collection in time?

This is particularly true in the digital realm. Sync tools and loopers rely on correctly aligned beat grids, while properly set up cue points let DJs jump between important moments in their tracks. We can now access vast catalogues of music across multiple genres, so well organised playlists and proper data tagging is key to finding the right track quickly.

This can have the negative effect of essentially locking users into a single brand’s ecosystem. If you have, for example, invested hours in setting up your library in Serato, you’ll likely be less inclined to make the jump over to Traktor or djay if a new feature in one of those applications catches your eye.

With the introduction of OneLibrary, we might finally see that change. OneLibrary has been created by rekordbox owner AlphaTheta in collaboration with djay creator Algoriddim and Traktor developer Native Instruments.

The idea is to develop a standardised library format that would allow users to transfer their collection between software and hardware systems from different brands, including important metadata such as playlists, cue points and beat grids.

It’s interesting that the initiative is being led by AlphaTheta as, in the past at least, the brand has arguably been the one that benefits most from the status quo. AlphaTheta’s Pioneer DJ-branded CDJs have long been a standard in professional DJ booths. DJs that want to make use of playlists and track collections with those players would need to export their tracks via AlphaTheta’s rekordbox software.

The introduction of OneLibrary will mean that those who use Traktor or djay will be able to make use of their existing track collections with AlphaTheta/Pioneer DJ hardware and software, and vice versa.

The development is perhaps a sign of an increasingly fragmented DJ market, in which users are less likely to commit to a single setup. In any case, from a user point of view it feels like a positive development.

Speaking about the launch, AlphaTheta President and CEO Yoshinori Kataoka said: “We’re thrilled to launch OneLibrary, a step forward in making creative expression more seamless for DJs everywhere. At AlphaTheta, our mission is to empower DJs to express themselves freely, without limitations. We’re grateful to our industry partners for sharing that vision and coming on board with this initiative. And this is just the start – so stay tuned.”

Karim Morsy, CEO of Algoriddim GmbH, said: “At Algoriddim, we’ve always embraced open, accessible DJ technology that empowers creativity. Collaborating with AlphaTheta on OneLibrary aligns perfectly with our mission to remove barriers in the DJ ecosystem. By allowing users to export djay Pro’s library for direct use on pro hardware like the CDJ-3000X, CDJ-3000, or the XDJ-AZ, we’re giving DJs the flexibility to perform seamlessly across setups – whether at home, in the club, or on stage.”

Nick Williams, CEO of Native Instruments, commented: “Everything we do at Native Instruments is about inspiring and enabling creators to express themselves through sound. OneLibrary is a big step toward a more open and collaborative DJ ecosystem – where music moves as freely as the people who play it. We’re proud to be an early partner with AlphaTheta in this initiative, and to bring seamless USB export not only to Traktor Pro 4 users worldwide, but also to new DJs starting out on Traktor Play.”

Currently, OneLibrary is only compatible with a select list of devices and applications from the three brands involved. This includes the rekordbox, Traktor Pro and djay Pro software applications and AlphaTheta’s CDJ-3000, CDJ-3000X, XDJ-AZ, Omnis-Duo and Opus-Quad hardware.

According to the official website, AlphaTheta plans to expand OneLibrary across more software and hardware products in the future, although as yet there’s no details on what that will entail and when.

The most obvious omission right now is Serato, one of the major players in the digital DJ realm. Back in 2023, AlphaTheta made a bid to buy Serato, but the acquisition was blocked by New Zealand’s Commerce Commission last year.

Native Instruments has announced the launch of Traktor Play, a new streamlined version of its DJ software aimed primarily at beginners. According to its launch announcement, the software offers “everything you need to DJ with none of the complexity”.

Traktor Play is a two-channel DJ application that offers Beatport streaming integration and access to a core selection of the creative tools found in Traktor Pro 4.

On the mixing front, it features two decks and two mixer channels, each equipped with three EQ bands and a one-knob Mixer FX control capable of filter and delay sweeps.

There are also further effect modules ported over from Traktor Pro, offering tools including reverb, delay and gating effects.

On the performance front, Traktor Play includes a simplified version of its big sibling’s stem separation tech, allowing users to mute the drums on any track as it plays back. There’s also an 808-style drum machine based on Traktor’s Pattern Player as well as looping, hot cue and Flux Mode.

Traktor users will likely recall that this isn’t the first time NI has released a beginner-friendly version of the software. The company previously developed an iteration called Traktor DJ, which was a free version of the application designed for both desktop and iOS, which was discontinued last year.

Traktor Play differs from Traktor DJ in several important ways though. Firstly, Traktor Play is not a free app, but a cheaper version, priced at $49/€49. Secondly, unlike Traktor DJ, Play is based on the same engine as its Pro sibling, meaning that there’s a more obvious and clear path for those who start out on the basic app to expand to the more comprehensive version.

Interestingly, although NI launched a new Traktor controller of its own last week, Traktor Play is launching bundled with a selection of hardware devices from rival brands. Both AlphaTheta’s DDJ-FLX2 and DDJ-FLX4 will now come with a license for Traktor Play and full plug-and-play capabilities.

Traktor Play is also compatible with Reloop’s Reloop Buddy and Reloop Ready controllers. Compatibility isn’t plug-and-play here, but NI says that setting the controllers up for use with the software will involve “just a few additional clicks”.

“Partnering directly with AlphaTheta and Reloop marks an exciting new chapter for Traktor,” says Simon Cross, CPTO at Native Instruments. “This collaboration means DJs have more flexibility, more accessibility, and more ways to connect with Traktor than ever before.”

Head to the Native Instruments site for more.

It’s almost six years since Native Instruments last launched an official mixing controller for its DJ software Traktor.

In the intervening years NI itself has changed ownership and joined forces with iZotope and Plugin Alliance, and amidst all those changes there were times when the future of Traktor looked rather uncertain.

The past 18 months have seen a renewed DJ focus from NI though, with the launch of updated versions of the company’s X1 and Z1 controller devices followed by version 4 of Traktor Pro late last year.

Now the company is introducing its latest Traktor controller, the MX2. Unlike the X1 and Z1, which are modular devices aimed at a specific part of the Traktor workflow, the MX2 is an all-in-one controller and interface for Traktor offering control over two decks and two mixer channels, as well as effects and performance features.

The MX2 is undeniably visually striking, thanks to its assorted light-up pads and colour-coded under-lighting. The colour of the pads themselves is fully customisable, allowing users to shape the look and functionality of the MX2. That under-lighting, meanwhile, can be used to indicate when a track is about to finish or when a loop is active.

The layout of the MX2 is fairly similar to that of NI’s previous S2, albeit with some updated functionality. Each deck has a touch sensitive jogwheel with both jog and turntable modes, allowing them to be used for scanning through tracks, nudging timing or scratching.

Below each jogwheel is a bank of eight performance pads. These can function as hot cues, but also be used to step sequence using Traktor’s Pattern Player. The pads can also be used in Flux Loop mode in order to perform quick loops without losing the timing of the playing track.

The pads are also designed to control Traktor’s stem separation functionality, which was added with Traktor Pro 4. This allows tracks to be broken into drum, vocal, bass and instrument stems, which can then be muted and mixed individually.

The MX2 also offers hands-on control over Traktor’s performance effects. Its central Mixer FX section lets users introduce one-knob macro style controls. The pair of Deck FX units, meanwhile, allow users to combine effect modules from Traktor’s range of 40 processor types.

According to Native Instruments: “MX2 combines a streamlined layout with powerful performance tools and a high-quality built-in audio interface. Whether you’re just starting out or looking for a portable setup that’s club-ready, MX2 puts everything you need at your fingertips, including the full version of Traktor Pro 4 software.”

The MX2 acts as a 24-bit/96 kHz audio interface with RCA and 1/8" mini jack outputs on the rear panel as well as both 1/4” and 1/8” headphone outputs. There’s also a 1/4” mic input.

The MX2 comes with the full version of the Traktor Pro 4 software, along with a two-month free trial for Beatport’s DJ subscription service.

The MX2 is available now priced at £349/€399/$449. Head to the NI site for more info.

What is it?

V-Moda is a premium headphone brand owned by Roland and is best known for its stylish and customisable designs. Aimed primarily at DJs and producers, there are a number of focused models available at different price points.

The latest additions to the range are the M-100 Pro, which is an upgraded version of the M-100, and our review model, the M-10. Both have Hi-Res Audio certification from the Japan Audio Society, and the M-10 is one of V-Moda’s more affordable designs, replacing its popular Crossfade LP2.

M-10 is a closed-back over-ear design with V-Moda’s distinctive ear cup shape. The drivers are 50mm dual diaphragm units that incorporate Japanese-made hi-res CCAW coils. Meanwhile, the ear pads use memory foam for excellent comfort and good passive isolation.

The ear cups feature black metal shields on the outer face and like other V-Moda headphones, these can be swapped out for a number of other designs and colours. Alas, this visually appealing aspect is being gradually phased out by Roland and moving forward, it will not be replenishing stock. Whether third-party vendors step in, as is the case with replacement ear cups, remains to be seen.

Finally, M-10 comes with 2 cables – a 1.5m braided straight cable (⅛” to ⅛” with ¼” converter) and a 3m coiled cable (¼” to ⅛”). In the box, you also get a drawstring storage pouch.

Performance

M-10 is a solidly built headphone and the combination of metal and plastic is robust without feeling bulky. The slimline metal arm and flexible branded headband are common features with V-Moda headphones and help keep the headphones pretty compact. Unlike the more DJ-friendly M-100 and reference style M-200, the M-10 arms do not include their CliqFold hinge, so you can’t fold them away.

In terms of comfort, at 275g these are a very reasonable weight for a closed-back design. Meanwhile, with them on, the passive isolation is also very good. You’ll find left/right labelling hidden on the inside of the headband, although a more obvious indicator is the red flashing on the right ear cup cable. The cable only connects to the left ear cup, which, although not as flexible as some of their models, does assist with orientation.

Roland describes the M-10 as a beat-tuned headphone with deep bass and high-end clarity. Unsurprisingly, we found it sounded great with beat-heavy genres such as trap and hip hop, where low-end sounds are clearly separated. It also sounded good with techno and house sounds.

What’s more, the aforementioned high-end clarity is also a key aspect, and even though the headphones are not obviously enhanced in the high frequencies, the separation is clean and smooth. For these genres the tonal balance is pretty satisfying even if it’s not particularly neutral, plus you can turn the headphones up pretty loud, which will please some users.

With genres such as rock, where the low and low mid frequency instrumentation is often more blended, the M-10 is less forgiving and we found this quite fatiguing. This is no surprise and clearly the M-10 is not tuned for this type of music.

Verdict

All told, the M-10s are well-made headphones with a specific target user in mind, and from a sonic perspective, they deliver precisely what they aim to. That said, they are clearly less flexible than the M-100 and M-200 models.

Alternatives

Specifications

AlphaTheta has unveiled its latest flagship DJ player, the CDJ-3000X, which aims to modernise the DJ workflow with more wireless connectivity and an expanded touchscreen.

According to AlphaTheta, “The “X” in its name embodies multiple meanings: transformation in the evolution of media, expanded connectivity with various devices and platforms, and extraordinary reliability and sound quality that surpasses the CDJ-3000.”

Originally launched in the mid-’90s under the Pioneer DJ brand, the CDJ range became the defining DJ players of the CD era, gradually taking over from Technics turntables as the industry standard in DJ booths around the world.

Despite CDs themselves becoming outdated tech, the CDJ range has remained a dominant force, adapting to modern times by incorporating portable media and, more recently, streaming.

The CDJ-3000X follows the CDJ-3000, which launched in 2020 and was the first in the range to ditch CD compatibility entirely. While losing the CD/DVD drive isn’t so shocking – after all, there’s few who’d argue that USB drives or SD cards aren’t a far more convenient solution for playing back digital music – what might raise a few eyebrows is the fact that where the CD input once sat, the CDJ-3000X now has a contactless NFC plate that allows users to tap their smartphone in order to access their music libraries.

This feature works in tandem with the CDJ-3000X’s big feature addition – built-in WiFi. This allows users to connect directly to cloud libraries and streaming services without the need for a LAN connection. The idea is that DJs can either tap a smartphone equipped with AlphaTheta's rekordbox app or scan an onscreen QR code for instant connection with the cloud library. This does, however, mean a step further into the realm of subscription models in order to make use of these capabilities.

The CDJ-3000X primarily makes use of AlphaTheta’s rekordbox application, and those with a subscription to its Cloud Option or Professional subscription tiers can access their music library remotely directly from the player. The device is compatible with Google Drive and Dropbox cloud storage as well as Beatport and Tidal streaming platforms.

Fortunately, there are also upgrades here for those that prefer not to rely on subscription services. The CDJ-3000X adds a USB-C port for faster connection to USB storage devices or Macs/PCs. All users will also benefit from the enlarged touchscreen, which can now display up-to 16 tracks on screen at a time, and promises quicker navigation and smoother control.

AlphaTheta has also made improvements to the browsing workflow, allowing users to edit playlists from the device as well as copy and paste track info into the search bar.

The CDJ-3000X also introduces a new Hot Cue workflow, enhancing ways in which DJs can perform with cue points. This adds so-called Touch Cue functionality, whereby users can monitor any point in a track through their headphones by touching its waveform on the touchscreen. Gate Cue, meanwhile, only plays sound from a cue point while the associated button is held down, opening up potential new ways to play and perform with cues.

Elsewhere, the CDJ-3000X brings technical improvements. The play and cue buttons have been redesigned for improved durability. New digital-to-analogue converters promise improved sound quality too, while a new power supply is said to lower noise and enhance low frequency power.

According to AlphaTheta: “The sound tuning of the CDJ-3000X was refined through on-site testing in various club environments and developed with input from professional sound engineers, ensuring exceptional audio performance in any setting, from intimate venues to large-scale outdoor festivals.”

The CDJ-3000X is available now, priced at € 2,799/£2,399/$2,999. Head to the AlphaTheta site for more.

Coachella is upon us, and when Mustard takes to the stage tonight for his headline set on the Sahara stage, he’ll have a couple of exclusive bits of gear for company.

This is thanks to Native Instruments, who the producer has worked with to create suitably yellow versions of the Maschine MK3 and Kontrol S49 specifically for this performance.

“It’s an honour to team up with Native Instruments on this,” says Mustard. “Maschine and the Kontrol S49 are powerful tools I’ve always respected - they make it easy to get ideas down fast and add real musicality. I just got my custom MK3 in time for Coachella, so I’m looking forward to breaking it in on stage in front of the hundreds of thousands of people there and watching online!”

Mustard has been using NI gear for well over a decade, so it seems fitting that he’ll be adding this extra visual spice to what seems set to be one of the biggest nights of his career so far.

However, although this is very much an artist exclusive, NI has actually made two of each product, and is planning to give the spare Maschine MK3 and Kontrol S49 to the lucky winner of its giveaway. Find out more about how you can be in with a chance of winning on the NI website.

Mustard’s biggest career achievement to date has to be being one of the three producers of Kendrick Lamar’s all-conquering diss track Not Like Us. Speaking last year, the producer revealed that it took him “approximately 30 minutes to make that beat,” which, in hindsight, was definitely half an hour well spent.

And, although Mustard’s Coachella audience will doubtless be big - he hits the stage at 11.50pm local time, if you want to check him out either in person or via the YouTube stream - it won’t be the biggest gig of his career so far. In February, he joined Lamar on stage for his Super Bowl Halftime show, which is believed to have pulled in an audience of more than 133 million people.

Wireless audio was once the stuff of magic until the development of Bluetooth. So why is it that it’s not everywhere in music production and DJing? Well, put simply, Bluetooth sucks for anything other than music listening. Try to mix or produce anything using Bluetooth and you’ll quickly discover that the latency is utterly unusable.

But the future is bright. Imperceptible, ultra-low latency wireless audio has long been out of reach for musicians, DJs and producers. Until now…

AlphaTheta has developed a new wireless protocol called SonicLink, which has a greater range than Bluetooth and latency figures 20 times faster at just nine milliseconds.

While an emerging technology, ultra-low latency wireless audio over WiFi isn’t new. However, AlphaTheta’s approach with SonicLink will change the way you mix and produce music within its DJing ecosystem.

AlphaTheta’s current range of SonicLink-equipped products deliver everything you need to go fully wireless, whether that’s in the studio, performing live or just out and about.

HDJ-F10 TX

The HDJ-F10s are AlphaTheta’s flagship do-it-all DJ headphones, complete with Bluetooth and SonicLink connectivity. They are perfectly set up to be just as at home on the commute as they are in the DJ booth.

The closed-back F10s feature 40mm drivers that can deliver a very wide frequency response of 5 Hz – 30 kHz at 32 Ohms. You also get Active Noise Cancellation and Transparency listening modes that will help you tailor your monitoring experience, depending on the noise levels around you. While ANC completely blocks out all external noise, the Transparency mode allows some of the natural ambience of your surroundings in, so at least you’ll still be able to hold a conversation.

The HDJ-F10 TX package includes the F10 headphones but also comes with its own transmitter (HP-TX01), much like the Wave-Eight. However, this transmitter only works with the F10s, which can also be said of the Wave-Eight and its transmitter.

The range is the same as the Wave-Eight at 15 metres, but it benefits from a slightly longer battery life at 9 hours. Bluetooth, however, can last up to anywhere around the 30-hour mark, depending on conditions and that’s even with ANC activated.

WAVE-EIGHT

The Wave-Eight is quite possibly the ultimate portable DJ speaker. A battery life of up to 8 hours, IPX4 waterproof rating, a retractable handle, and wheels are just the half of it. Combined with a wireless all-in-one system such as the Omnis-Duo and you can DJ anywhere.

Not only that, Wave-Eight can be configured with up to three speakers to create a complete sound system. A single unit will provide a basic mono setup, whereas two can create a stereo system, and you can add a third to use as a sub, courtesy of the low-cut and subwoofer options within the onboard EQ control.

This portable party PA also features inputs of two XLR/TRS combo jacks, a 1/4″ TRS jack, a 3.5mm stereo mini jack and a single XLR output

The SonicLink transmitter can be neatly stored and charged in a protective side compartment. The unit has an RCA input to connect your mixer or DJ controller for wireless connectivity with the Wave-Eight speaker system with an unobstructed range of up to 15 metres.

AlphaTheta XDJ-AZ

Finally, in the SonicLink lineup, we have the latest all-in-one club-ready controller, the XDJ-AZ.

As well as inheriting the same layout from the flagship CDJ-3000 and DJM-A9, the XDJ-AZ also features compatibility with rekordbox CloudDirectPlay, StreamingDirectPlay, rekordbox and Serato DJ Pro for Mac/Windows.

This is the first AlphaTheta product that features an integrated SonicLink transmitter, giving you one less thing to worry about. You can directly pair your HDJ-F10 headphones to the AZ, giving you the freedom to roam the booth when playing live.

To find out more about the Wave-Eight, HDJ-F10 TX, XDJ-AZ and SonicLink, head over to the AlphaTheta website.

In recent years there’s been something of a disconnect between the universal ease of streaming music for listening purposes and the convoluted process of streaming music for the purpose of DJing.

That’s not to say that streaming isn’t a thing in the DJ realm – the likes of Beatport, Beatsource and Soundcloud each offer streaming subscriptions aimed specifically at DJs, and AlphaTheta’s recent emphasis on Cloud services means that Rekordbox users can access their library of tracks remotely. But for the most part there’s been no way for users of streaming giants Spotify or Apple Music to make use of their subscriptions for DJing.

That’s set to change with the launch of DJ with Apple Music, a new functionality for the streaming service aimed at making the platform’s library available to DJs.

This manifests in a few ways. Firstly, as a new section within Apple Music’s own interface that hosts a variety of curated DJ-focused playlists. This has playlists built around genres, as well as those curated by DJs and DJ gear brands.

More significantly, it also means that Apple Music will now be integrated into a variety of different DJing platforms including Serato, AlphaTheta’s Rekordbox, and inMusic’s Engine DJ, Denon DJ, Numark, and RANE DJ.

While functionality is a little different across different platforms, this means that Apple Music subscribers can mix with tracks from the service’s library within their chosen DJ platform, as well as apply tags, set cue points and build playlists.

On the AlphaTheta front, Apple Music arrives in the desktop version of Rekordbox (v7.1), along with rekordbox for iOS, and will also be implemented into two of the brand’s all-in-one DJ systems, the XDJ-AZ and Omnis-Duo.

The company also tells us that integration should roll out for the CDJ-3000s and Opus-Quad in the near future, and will be present in all future product releases.

With Serato, users can access Apple Music tracks from the downloads pages of both Serato DJ Lite and Serato DJ Pro.

It’s worth noting that this isn’t the first time Apple Music has been integrated into a DJ platform – users of Algoriddim Djay can already stream tracks from Apple Music. Rival streaming platform Tidal is already integrated into several DJ platforms too. However, today’s announcement is certainly the most high-profile crossover we've seen between a streaming platform and the DJ realm.

A notably absent name from the list of integrated applications is Native Instruments’ Traktor, which is a shame, as the latest iteration – Traktor Pro 4 – impressed us when it finally arrived last year.

“Apple Music is committed to supporting DJs,” says Stephen Campbell, Global Head of Dance, Electronic & DJ Mixes at Apple Music. “With this latest integration, we’re taking that commitment even further – seamlessly connecting Apple Music with the industry’s leading DJ software and hardware. This innovation brings the full power of Apple Music into the creative workflow, making it easier than ever for DJs to access, play, and discover music in real time.”

It’s worth noting a couple of major caveats that mean this functionality is likely to appeal primarily to beginner and hobbyist DJs, at least for the time being.

Firstly, there’s no offline functionality for DJing with Apple Music tracks. This means you can’t download and save tracks added to your DJ platform of choice, and won’t be able to access them without a stable internet connection – something we’d be wary of when it comes to playing any high-profile sets.

Secondly, Apple Music’s terms of service state that music can only be used for noncommercial purposes, which means that using streamed tracks for any paid DJ gigs – including weddings, club gigs, parties, etc – would be a violation of said terms.

To point out the obvious too, making use of Apple Music within any DJ platform will require both a subscription to Apple Music and subscription to/license for your DJ software of choice.

On the positive side, closing the gap between the streaming services we use for listening to music and DJ software libraries is a massive step forward for beginner and at-home DJs. In the past, when DJing relied on physical media like vinyl or CDs, or even in more recent times when a library of purchased tracks or dedicated subscription was required, getting started as a DJ could be a prohibitively expensive process.

Integration like this will certainly make it cheaper for beginners to try their hand at DJing, as well as explore new styles and genres.

Speaking as somebody that no longer DJs in public regularly, but has been roped out of retirement to play at a few friends' weddings in recent years, this functionality would have saved me hours of prep time if it had been available a few years ago. (It's not a violation of the terms of service if you're getting paid in free drinks, right? – I'll have our lawyers look into this).

The launch of DJ with Apple Music follows the platform’s introduction of DJ Mixes back in 2021, which integrated streamable mixed sets into the library.

Explore Apple Music’s new DJ playlists at the DJ with Apple Music homepage.

Find out more about specific platform integration with Serato, Rekordbox, Engine DJ and Djay.

We’ll be the first to admit that live sound gear isn’t the sort of thing that usually gets us excited. PA systems and home studio mixers aren’t the sexiest bits of gear you’ll ever buy, but they’re undeniably a core part of the musician’s experience. Here’s something you can get excited about though - Guitar Center is currently offering ginormous savings of up to 40% off live sound gear.

The sale includes PA systems, mixers, microphones, monitoring, wireless systems, and loads more. You haven’t got long to take advantage of the deals though as the sale ends on 03/26, so act fast if you see something you like!

We’ve had a look through the sale already to see what’s in it, and picked some of our favorite items for you here. If you’re looking for a new mixer, whether it’s for a rehearsal space or a home studio, the Yamaha MG10XUF has got an awesome $70 discount at the moment. It’s a ruggedly built bit of kit that features 24 built-in effects covering everything from reverb to pitch shifting. Four Yamaha D-PRE preamps ensure that your sources are captured with clarity, and it’s also got a built-in audio interface for recording.

Next up we spied an excellent discount on the NUX C-5RC wireless guitar system. With a huge 20% reduction on the regular price taking it well below the $150 mark, it’s a great entryway into wireless systems if you’ve never used on before. We love that it uses the 5.8GHz band which is typically less busy than the more common 2.4GHz one, so less chance of any interference. Its simple plug-and-play setup also means it's a breeze to set up if you’ve never used a wireless system before.

Our final pick will be a shoo-in for live sound engineers, with the Digital Reference DRDK7 7-Piece Drum Mic Kit seeing a nice $33 discount to drop the price below the $200 mark. It’s insane value for money for so many microphones, and with kick, snare, and tom mics taken care of alongside two condenser overhead microphones, it's ideal for miking up the kit at your local venue. It even comes with a handy carry case with foam cutouts to ensure you keep everything neat and tidy once you’ve set them down.

Native Instruments' Maschine 3.0 software arrived late last year and was met with a somewhat mixed response from many users (us included).

Although v3.0 added features including stem separation, new MIDI edit tools, custom tempos per scene and audio bounce in place, many considered it a fairly lightweight update, particularly given the 11 year wait for a full version upgrade from Maschine 2.

Combined with a lack of new Maschine hardware and controversy over the discontinuation of some older units, NI has some work to do keep the Maschine community onside.

To that end, the company is now back with another update – Maschine 3.1 – which is free for existing version 3 users and offers a much-requested user chords feature. This allows users to save banks of chord progressions for use across projects or to share with others.

3.1 also notably adds a new fullscreen mode in the standalone app version – something that has, incredibly, not been included until now.

The release is likely to please some users more than others though. While the new update will be coming shortly to PC and Mac, users of the standalone Maschine+ will have to wait a little longer.

NI is promising that Maschine+ will receive the 3.1 update later this year, but bearing in mind that users are still waiting for version 3.0 to arrive, this might sound like a slightly hollow promise.

The 3.1 update does, however, add Ableton Live integration for Maschine+ when used in controller mode.

Quiet obsolescence

The recent history of Maschine has been something of a mixed bag for users.

Back in October NI ditched support and compatibility for its latest Maschine software with the Mk1 and Mk2 Maschine controllers (having previously quietly ditched Komplete Kontrol compatibility for its Mk1 keyboards). While this isn't an uncommon practice for hardware brands, it does leave users of older controllers unable to upgrade to the latest version of the software.

More jarring is the lack of significant updates for the standalone Maschine+, which is now a version behind the desktop software, and has had little in the way of new functionality since it arrived in 2020.

What's more, given the constraints of the Maschine+ hardware, it's unclear whether Maschine 3's headline feature – stem separation – will be available on the hardware at all. In recent updates, NI has indicated that, at least initially, Maschine+ will be able to play but not generate stems when the v3 update arrives.

It’s understandably something that owners of the pricey Maschine+ (£1019) aren’t happy with, particularly since it follows soon after the news that Maschine+ wouldn’t be getting access to the software version’s Play Series instruments and Expansions sound packs. This despite the fact that the company's hardware rival, the similarly standalone Akai MPC, would.

The move seemingly tipped Maschine+ users over the edge, claiming that NI were fracturing and planning to abandon their beat-based DAW altogether, an uproar which prompted a rapid backtrack by NI.

However, with this update NI is promising full 3.1 and reinforced Play Series compatibility with Maschine+ for later this year.

As to how long the existing Maschine+ can keep up, and when a yet-to-be-announced update to the Maschine+ hardware may surface, remains to be seen.

Read full details of the Maschine 3.1 update at Native Instruments' website.

Yanis Koudjo is spearheading the evolution of UK garage. The Bristol-based DJ, better known as Dr Dubplate, is the brains behind ec2a, a record label dedicated to showcasing the genre's next generation - a cadre of young and gifted producers splicing UKG with breaks, dubstep and techno - through sought-after, limited-edition dubplate releases that regularly sell out in minutes.

Immersed in the culture since his teen years - his Dad was the manager of one of London's most influential clubs, Plastic People, where Koudjo worked in the cloakroom - Koudjo's curatorial nous has fuelled not only the success of his record label, which celebrates its fifth birthday in 2025, but also a high-flying DJ career that's seen him take his rowdy and refreshingly unpretentious sets around the world.

We visited Koudjo in ec2a's Bristol-based headquarters to find out more about his approach to DJing, and he was kind enough to leave us with five tips for those looking to up their game behind the decks....

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OK. Valentine’s Day may classically be the day for delivering a mysterious card, a box of chocolates or a bunch of red roses, but what if the object of your affections needs a new drum stool? Or has a buzzing quarter-inch guitar lead? Or has recently reversed over their prized Gibson Kirk Hammett "Greeny" Les Paul Standard?

Well turns out that Thomann, the music gear retail giant that owns a whole town (and is dedicated to putting the gear you need into your hands in record time and at the best prices) has got you covered. Phew.

Their Valentine's Day special offers – rounding up a raft of favourite products at incredible one-time-only prices sees them pulling out all the (organ) stops to make sure that anyone with any brains delivers the goods and gets the goodies this Valentine's Day.

Now potential gifters can choose from 100 specially selected products across Thomann’s never-ending instrument classes and categories, including guitars, drums, lighting, and – if you’re feeling particularly romantic – PA equipment…

What more could any potentially love-struck musician need?

And their massive sale event kicks off NOW, running from today, 6 February right through to the big day itself on the 14th.

Go check out what’s hot at Thomann's valentine's day offers and give them a gift they’ll love. Or (whisper it) keep it for yourself.

NAMM 2025: We first got word of Korg’s new turntable range a year ago, when the company announced the Handytraxx Play back at NAMM 2024, although it’s been listed as ‘coming soon’ on the company’s site ever since. Now, ahead of NAMM ‘25, the Handytraxx Play has reemerged – and it’s brought a full range of Handytraxx turntables with it.

Inspired by the iconic Vestax Handy Trax, Handytraxx Play is a portable turntable aimed at both DJs and vinyl enthusiasts. The original Handy Trax was released in the late noughties and proved popular in the ‘portablism’ space, filled with people who scratch and DJ using easily transportable gear. Korg’s updated take has been created in collaboration with former Vestax president, Toshihide Nakama, who sadly died in 2023 before the project could be completed.

The portability factor here lies in the fact that the Play can run either via AC power or AA batteries and features a 2.5w built-in speaker which Korg claims “delivers impressive sound with rich bass and clear playback, whether you’re connected to external speakers or not."

The Handytraxx Play also comes equipped with some interesting performance tools. There’s a multimode filter with three filter types, plus a delay effect with its own fader for control. There’s also an audio looper onboard for live looping.

The Handytraxx Play features a belt drive motor with digital rotation correction for better stability. The turntable can be customised to use ceramic and MM cartridges, and it’s also possible to replace the crossfader and reorientate the device for left-handed use.

The Play launches alongside three other Handytraxx units – the Handytraxx Tube, Handytraxx Tube J and Handytraxx 1bit.

The Handytraxx Tube is aimed at audiophiles. According to Korg, “each component has been meticulously crafted to prioritise sound quality, including an aluminium die-cast platter for precise and stable rotation, a balanced tone arm featuring an MM cartridge”.

It also adds a Nutube vacuum tube to the design, which Korg claims “not only enriches the audio with warm harmonics, but also adds a lifelike depth and clarity to every record”. It also features adjustable bass and treble controls.

The Tube comes equipped with JICO J44A 7 cartridges. It also features a stereo speaker as well as digital conversion capabilities allowing users to digitise their record collection.

The Handytraxx Tube J, meanwhile, is a special edition variation on the Tube produced in collaboration with Japanese stylus brand JICO. Along with all the features of the Handytraxx Tube, the Tube J also comes equipped with JICO’s top-end Clipper cartridges.

Finally, the Handytraxx 1bit ups the audiophile factor further with 5.6 MHz, 1-bit (DSD) format recording, delivering 5.6 million samples per second for what Korg calls ‘unparalleled sound quality’. According to the press release, “whether you’re digitising a priceless vinyl library or enjoying casual playback, the Handytraxx 1bit is the perfect solution for every vinyl enthusiast.”

Prices start at £359 for the Handytraxx Play, rising to £699 for the Handytraxx Tube. The Handytraxx 1bit is priced at £919. Finally, the limited edition Handytraxx Tube J is £1099. Head to the Korg site for more.

NAMM 2025: With mobile music-making only ever in the ascendancy and all the big money to be made in live performance, products that enable you to take your skills and your sounds out into the open are similarly on the rise.

Mackie’s new ProFX10 GO mixer is the latest offering from the company that’s been making high-quality, great sounding mixers and associated audio gear for decades. But this mini miracle goes one step further, working its familiar Mackie magic without the need for a power cable.

In fact, it’s not only a 10-channel audio mixer but also a 24-bit/192 kHz, 2x4 USB-C audio interface. Plus, there are additional luxuries such as Mackie’s own GigFX+ effects engine - offering reverbs, delays, choruses and more - and a full-colour LCD display for editing and saving presets.

And - as is increasingly becoming a must - there’s full Bluetooth on board, so you can send and receive audio to and from your audience’s devices without the need for a pesky cable.

And all this without the need for a power connection, as the unit’s built-in but swappable battery keeps the whole gig going for up to eight hours. And when you’re running low, just drop in another GB-10 battery (available separately) to keep the party going.

When you do come across a power outlet, simply plug in the ProFX10 GO and continue your jam while the GO’s battery dutifully recharges in the background.

Via Bluetooth you can stream in songs from phones, tablets and laptops and even use them as backing for your band or DJ who can play on the top. Alternatively, turn your phone into your own remote broadcast studio and stream your performance on the ProFX10 GO to your phone and onwards to Twitch, YouTube, Instagram and more.

Spec hunters will be pleased to note that, despite all the new wireless bells and whistles, Mackie hasn't skimped on the ProFX10 GO’s capacity to sound great.

The new mixer carries four of Mackie’s famous Onyx mic preamps with up to 60 dB of gain on channels 1 through 4. Channels 1 and 2 carry Hi-Z switches for DI injection of guitars and more, and all channels feature Mackie’s famous musically-optimised three-band EQ.

There’s even a built-in ‘one-knob’ compressor built into channels 1 and 2.

In essence, the new GO formulation is everything you loved from Mackie's existing ProFX10V3 and (plus the effects) ProFX10V+ mixers, plus that all important ability to play in a desert, car park or warehouse and everywhere in between.

The GO comes as part of Mackie’s new line-up and will be fully revealed at NAMM 2025 with price and availability TBC.

The inspiring, uplifting but ultimately tragic story of EDM star Tim Bergling – better known as Avicii – will premiere on Netflix on 31 December.

The DJ and producer – once one of the prime exponents of the burgeoning dance music scene and a subsequent EDM poster boy – encountered a rapid rise to fame.

Following such international, genre-defining hits as Levels, Dancing In My Head and co-production and co-writing with Coldplay, he became a much-in-demand regular on the thriving international club and festival scene, seemingly always obliging and ready to headline a gig and play to adoring crowds anywhere, anytime, day or night.

Always a musical innovator, he worked fast, and alone, often crafting massive club tracks by himself on his laptop using his personal weapon of choice, FL Studio.

Behind the scenes however, all was not well, and after struggling with both his physical and mental health he was forced to take a backseat from the limelight and retire at the age of 26.

Tragedy was to follow when, on 20 April 2018, Bergling took his own life, aged just 28.

Now his story is being told in a new documentary from Netflix.

“Through unique home movies and a huge private archive, we get to follow Tim on a winding journey through life – from the very first breath at the maternity ward in Stockholm in 1989 to the tragic end in Oman in 2018,” reads the Netflix release.

Intriguingly, thanks to his full cooperation prior to his death, the documentary features full narration from Bergling himself as he tells the story of his childhood and subsequent rise to fame. There’s also input from key collaborators such as Coldplay’s Chris Martin, David Guetta, and Aloe Blacc.

“This is a film where Tim himself is the narrator and he shares his inner self in a way we haven’t heard before. Through himself and everyone close to him – family, artist colleagues and best friends – we get to know Tim – the boy behind Avicii – for the first time.”

And while his fans will be watching, doubtless searching for answers, Netflix has more unseen insight. Additionally, Netflix will premiere Avicii – My Last Show, a 30-minute film that captures his final performance live at Ibiza’s Ushuaïa on 26 August 2016.

Both movies will be on Netflix from 31 December 2024.

When it comes to affordable yet powerful digital mixers, the Behringer X32 has become a beloved staple in the live music scene. Whether it's as the front-of-house desk or as a monitor rig, this hi-tech mixing console has won over the hearts of local and pro musicians alike. And now, with a significant Cyber Monday discount at Andertons, you can join the community and save a whopping £249 off this powerful mixing tool.

One famous champion of the Behringer X32 is lead guitarist for the Foo Fighters, Chris Shiflett. When we sat down with Shiflett to discuss his essential pieces of music gear, he couldn't tour without, the long-serving Foos axeman offered up praise for the digital console. His endorsement carries significant weight, as he said, "We've got a Behringer X32, you know, for our monitor rig on stage. We've got one of those now, and we can control our in-ears on our phones, you know, do that whole thing – and that's freaking amazing, man," beams Shiflett. "Like, this is a game-changer for us. So, I mean, that's a pretty essential piece of gear."

It's pretty high praise indeed for this humble digital mixer and shows that it's used by everyone from bands just starting out to touring global megastars.

The Flagship X32 stands out with its broad range of features at this price point, such as 40 channels, Midas-designed microphone preamps, motorised faders, wireless mixing capabilities, and a full audio interface for multitrack recording.

With 16 XLR outputs, six additional lines in/outputs, two phone connectors, a talkback section with an integrated or external mic, and 16 effects, the flagship X32 offers a lot of mixing power for a very reasonable price. No wonder Chris Shifflett is a fan.

With the end of the Cyber Monday music deals in sight, this deal may not be around for much longer, so grab it while you can.

Prince is synonymous with Oberheim synths - he used them on multiple albums throughout his career. One of those in question was an OB-8 owned by Matt ‘Dr’ Fink, keyboard player with Prince’s backing band The Revolution. This featured on Purple Rain, Around The World In A Day, Parade and Sign o’ The Times, and it’s about to go under the hammer.

The OB-8 that’s being sold comes from Fink’s personal collection and, as well as being used in the studio, it was also employed as a backup synth on tour. It’s expected to sell for between $62,500 and $125,000.

The OB-8 was the final model in the OB range, succeeding the OB-X and OB-Xa, which Prince also used. You can hear these synths’ sounds all over the Purple Rain album in particular, including on Let’s Go Crazy, I Would Die 4 U and Baby I’m a Star.

Fink’s OB-8 is being sold by Propstore, and the suggestion is that Prince himself would also have played it from time to time.

It’s not the only item from the doctor’s musical/medical bag that’s up for grabs, either: there’s also an Amek mixing desk that was used to record the Dirty Mind album at Prince’s home studio on the North Arm of Lake Minnetonka, Minnesota.

“Prince used this mixing board to record and track raw recordings and create rough mixes for songs on Dirty Mind,” says the listing. “These rough recordings would then be mixed into a final version, usually on a board in Hollywood Sound Recorders studio in Los Angeles.”

Discussing his working relationship with Prince at that time, Fink told Propstore that this was “when I managed to impress him with something I had written, musically. He just said, ‘hey, I’d like to write something against that,’ and that was the Dirty Mind music, which he put lyrics and melody to. That was in 1980, I believe, and we recorded that song, amongst many others, on that board that’s up for auction, the Amek board.”

The board was also used during the early stages of the subsequent Controversy album, before Prince retired it when he moved to his new Kiowa Trail home studio to finish the record. This is when it came into Fink’s possession; it’s said that band members were known for asking Prince for permission to take bits of his gear after he’d finished using them, and that’s what happened here.

The Amek board could sell for between $37,500 and $75,000, says Propstore.

Both items are included in the Propstore Entertainment Memorabilia Live Auction, which is taking place in London between 14 and 17 November. All music items will be sold on 15 November, which is this Friday.

AlphaTheta, the parent brand that owns Pioneer DJ, has announced the release of a new DJ controller, the DDJ-FLX2. A compact and lightweight controller aimed at beginner DJs, the FLX2 is the successor to Pioneer DJ's DDJ-200.

The DDJ-FLX2 is a two-channel controller that can be hooked up to your smartphone, tablet or laptop via USB-C or Bluetooth to control three of the most popular DJ applications, Rekordbox, Serato DJ and Algoriddim DJay, and mix music from compatible streaming services, including Beatport, Apple Music and TIDAL. 

The DDJ-FLX2 is a basic two-deck controller with eight performance pads for triggering loops and samples or controlling Hot Cues and Pad FX. The mixer section features a three-band EQ, with a dual-purpose encoder controlling both Smart CFX and the onboard filter, when Smart CFX is deactivated. 

Smart CFX is a feature that lets users access built-in presets using multiple effects that can be dialled in using a single encoder. DDJ-FLX2 also offers Smart Fader, a feature that automatically adjusts volume, EQ and BPM to blend between two tracks using only the crossfader, enabling the user to execute clean transitions with minimal effort. 

Unlike its predecessor, the DDJ-FLX2 benefits from a built-in sound card, giving you dedicated 3.5mm audio and headphone outputs, meaning you can monitor tracks on headphones while the controller's hooked up to speakers, an essential ability for anyone learning to DJ. 

At only 1.2kg, DDJ-FLX2 is AlphaTheta's most portable DJ controller yet, and as it can run on USB bus power, you won't need an external power supply when hooked up to a computer or mobile device via USB-C. 

Though it's cheaper and lighter on controls, DDJ-FLX2 shares many similarities with the DDJ-FLX4, a controller that we described in our review as a "strong contender for the best beginner's DJ controller on the market".

AlphaTheta DDJ-FLX2 is priced at $179/£159. Find out more on AlphaTheta's website.

AlphaTheta has replaced its flagship all-in-one DJ controller, the XDJ-XZ, with the newly improved XDJ-AZ, which promises greater compatibility and even more tracks than before.

As with previous flagship all-in-one controllers, the XDJ-AZ is designed to offer club-standard features and a layout that is familiar to DJs regularly playing out on CDJ and DJM setups.

This latest model promises all of that but with a more refined interface that includes the addition of a larger 10.1" touchscreen from the previous eight-inch one found on the XZ, for an altogether easier experience.

One big improvement is the inclusion of Wi-Fi and support for rekordboxCloudDirectPlay and StreamingDirectPlay giving access to Beatport Streaming tracks. Generally, all-round compatibility has improved allowing you to run rekordbox on Mac, PC, Android and iOS, with Serato DJ Pro support coming in December 2024.

If you're thinking of upgrading your headphone monitoring to AlphaTheta's new HDJ-F10 headphones, then have no fear as the AZ also includes SonicLink compatibility with an integrated transmitter.

Lastly, the list of improvements culminates in a hike in sound quality, courtesy of a 32-bit D/A converter from ESS Technology. There's also a dedicated button for the mixer settings, on-screen, for rapid adjustment when needed.

We've been lucky enough to get hold of one for testing and you can check out our XDJ-AZ review now.

The XDJ-AZ is available to preorder at all good retailers, priced at $3,199 / £2,799 / €3,299 and you can find out more information on the AlphaTheta website.

AlphaTheta XDJ-AZ review: What is it?

AlphaTheta has unveiled its new all-in-one XDJ-AZ, an update to its predecessor, the Pioneer DJ XDJ-XZ, but are there enough improvements here to justify making the jump to the latest top-end model?

As we've become accustomed to, from the DJing giant, the build quality and styling of the unit are strong and simple. A sturdy metal feel to the unit instils confidence that it will be reliable and stand up to the rigours of being used on any stage.

The four-channel mixer has a classic Pioneer quality feel, with clear labelling of the controls and sound quality that you would expect from the brand, especially on this flagship unit. Each of the channels has its own three-band EQ, Sound Color FX control and trim control.

Connectivity to the XDJ-AZ is covered by two USB Type-A ports for your memory sticks, one rear-mounted USB Type-C port for a laptop (Rekordbox and Serato DJ Pro compatible), and two line/phono inputs for additional players. There are two Mic inputs, 3.5mm and 1/4 inch headphone sockets and an in-built SonicLink connection for headphones such as the HDJ-F10. The XDJ-AZ also has built-in Bluetooth and Wi-Fi capability for use with streaming services such as Rekordbox CloudDirectPlay and Beatport Streaming. To wrap things up in the I/O department, the XDJ-AZ is also equipped with XLR and RCA outputs.

The nearest comparable unit on the market would be the Denon DJ Prime 4. Each has its own unique details and style, but at their core, they offer similar functions.

AlphaTheta XDJ-AZ review: Performance and verdict

Straight out of the box, the XDJ-AZ is familiar, even if you have never laid hands on its predecessor. It has the timeless refined look of the Pioneer DJ CDJ / DJM range which is just spot on.

Compared to the XDJ-XZ, the XDJ-AZ redefines some of the functions and opens up the layout, making it seem less cluttered. Buttons replace switches across the unit, mixer controls are set using the touch screen and gone is the Aux channel.

The interface is dominated by the vibrant 10.1-inch touch screen (three inches bigger than the XDJ-XZ screen) that controls track loading, the playback display and the settings for the XDJ-AZ. You can adjust many aspects of the system, from crossfader and channel curves to headphone settings and more with a tap of the screen. It’s very intuitive to use and we were up and running in no time.

To the side of the screen is a rotary dial for scrolling through media libraries, which we found accurate and easy to use and could also be done via the touch screen. Below the rotary are load buttons for each deck and the tracks are immediately ready for use. While around the screen, there are additional menu and function buttons. There is a lot to digest here, but the controls make sense without the need for hours of study of the manual.

The rest of the unit comprises a four-channel mixer and a CDJ-style unit on either side. The XDJ-AZ has a similar layout to its predecessor with eight performance pads and pad mode selectors below the full-size jog wheels and various deck controls around the sides. All are clearly labelled and in just the right place for ease of use. Any previous CDJ user will feel right at home with the layout.

Above the jog wheel is the selector switch to change between channels one and three, two and four respectively. All four channels can playback from USB or from software with the Line/Phono external inputs only being available on channels three and four. This gave us enough flexibility to enjoy playing music from any source desired.

Above the left and right decks are the controls for the dual Mic inputs and Master Out. Both feature three-band EQ and VU meters for monitoring the level, while the booth monitor is next to the Master controls.

Finally, there are the FX sections. To the left of the mixer, Sound Color FX can be selected for each channel. To the right, there is the Beat FX section that has lots of FX that can be assigned to each channel individually, the mic, the master output or either side of the crossfader. There are also FX Frequency buttons, which can be turned on and off so that the FX are only applied to that frequency spectrum.

Final verdict

We could easily have spent hours tweaking the unit to our liking, but it was while playing that we fell in love with it – the ease of selecting music, the adjustability of the controls and just how tactile and well-thought-out the layout is. Mixing on the XDJ-AZ is a hugely rewarding experience, with nothing feeling clunky or cramped.

Every moment spent with the XDJ-AZ has been a dream. It's quite clear that some serious thought has gone into redesigning this flagship all-in-one controller. The inclusion of a second USB connector for another laptop would've been great but that is not a deal-breaker in our book. This is a great unit for getting prepared for using CDJs or XDJs in a club with a DJM mixer, as the layouts and functionality are similar, but more importantly, without the high cost.

AlphaTheta XDJ-AZ review: Hands-on demos

AlphaTheta / PioneerDJ Global

AlphaTheta XDJ-AZ review: Specifications

• Compatible software: Rekordbox (Mac / Windows), Rekordbox (iOS / Android), Serato DJ Pro (coming December 2024)
• Frequency Response: 20Hz-20kHz
• S/N Ratio: 115dB (USB)
• Total Harmonic Distortion: 0.0018% (USB)
• USB Type-A x2
• USB Type-C x1
• Line / Phono x2 (RCA)
• Mic x2 1/4 inch TRS and XLR Multi socket
• LAN Port
• Wi-Fi (2.4GHz and 5GHz)
• Bluetooth
• Master x2 (XLR x1, RCA x 1)
• Booth x 1 (1/4 inch TRS )
• Headphones x2 (1/4 inch stereo jack, 3.5mm stereo mini jack
• SonicLink (for headphones only)
• Size (W x D x H): 895 x 504.1 x 133.4 mm
• Weight: 13.5kg / 29.7lbs
• Contact: AlphaTheta

AlphaTheta wants you to get your groove on with its newly released DDJ-GRV6, a rekordbox and Serato DJ Pro compatible controller that brings the remix functionality of the Groove Circuit in rekordbox to life.

At its heart, the DDJ-GRV6 is a four-channel mixer with an onboard audio interface and USB-C connectivity for PC, Mac and mobile devices.

Aimed at giving you greater control over your remixes in a live situation, the Groove Circuit is a set of features that enable you to replace drum parts and add effects. With the DDJ-GRV6, those rekordbox features are now tactile controls.

At the press of a button, you can easily replace drum parts on the fly in the Drum Swap section, whilst creating fills and building transitions in the Drum Roll section. There's also a dedicated FX release paddle control and on top of that, Alpha heta is giving you a pack of 40 loops to download for free.

The Groove Circuit also features a capture option that allows you to extract the drum parts of the track loaded on the deck that you can drop in on any track at any time.

It's not all about rekordbox users though. You'll find an overlay to transform those Groove Circuit controls to Stems FX and easily control the stem separation functionality within Serato Pro DJ.

The DDJ-GRV6 also features a new Smart Rotary Selector that allows up, down, left and right control as well as the standard rotary movement. This extra control promises to aid in faster and more intuitive menu navigation through the media browser, playlists and more.

The controller also includes a Discover button to quickly access the Track Suggestion feature within rekordbox, reminding you of your old favourite tracks.

The DDJ-GRV6 is available to preorder now for £719 / $826 / €849 and you can find more information on the AlphaTheta website.

Native Instruments Traktor Pro 4: What is it?

A full update to Native Instruments’ Traktor DJ software has been a long time coming. 

In the six years since the arrival of Traktor Pro 3 there have been some major changes elsewhere in the industry, with PioneerDJ doubling down on its own rekordbox software while its parent company AlphaTheta makes a bid to buy Traktor’s other big rival, Serato.

Native Instruments Traktor Pro 4: Performance and verdict

The design of Traktor Pro 4 feels reassuringly familiar although the software has been updated in all the right places. One of the key additions here is stem separation and mixing. Traktor was actually the first application to introduce a form of stem mixing, back in 2015, although this relied on DJs, artists and labels embracing the proprietary Stems format, which never really took off. In Traktor 4, stems can be separated from a standard pre-mixed audio file – as in other DJ applications – meaning these no longer need to be imported separately. Traktor can analyse and separate a track into stems ‘live’ as a track is playing, though the process can be slow, so the better approach is to pre-separate tracks in the browser. Right now this can only be done one track at a time, rather than as a batch.

In terms of isolation quality and stem mixing, Traktor Pro holds its own against the best of its rivals. We’d assume it may be relying on the same tech as that in iZotope’s RX 11, which is now owned by the same parent brand. On that front, another interesting new feature for Traktor Pro 4 is its Ozone Maximiser – an intelligent output limiter borrowed from the iZotope mastering software of the same name. This is a simple, hassle-free tool that imbues the output with a decent level of loudness without risking distortion.

Traktor Pro 4 also introduces flexible beat grids, allowing its syncing capabilities to work around tracks with drifting timing or tempo changes. This is more of a fix than an exciting new feature, but addresses one of the major weaknesses of previous versions, in that it was near-impossible to work with musical styles that weren’t focused around a rigid electronic beat.

The software also gains a neat and fun mini drum machine in the form of Pattern Player, which can be loaded with sounds from artists including Luke Slater and Rebekah. Both Pattern Player and the Ozone Maximiser were previously offered as part of NI’s Traktor Pro Plus subscription, now thankfully abandoned. In fact, as dull as it sounds, Traktor Pro’s new pricing structure is its best feature. Where many rivals lean into subscriptions and add-ons, Traktor Pro is now a single, unified product available for a single – very reasonable – outright purchase price (or a cheaper upgrade from previous versions). It’s this that is likely to appeal most to a lot of users. 

While it holds its own against the big names, Traktor feels reassuringly neat and self-contained, both in terms of its usability and cost.

MusicRadar verdict: Traktor strikes back, with an enhanced application that is nonetheless reassuringly familiar and reasonably priced.

Native Instruments Traktor Pro 4: The web says

"This feels like a breath of fresh air. One price. One version. No subscription. And new features which make the software once again fit for purpose for DJs who prioritise performance and sound quality over everything else, but who want some of the things they’ve jealously watched other platforms implement."
Digital DJ Tips

Native Instruments Traktor Pro 4: Hands-on demos

Native Instruments

Crossfader

Bop DJ

Digital DJ Tips

Native Instruments Traktor Pro 4: Specifications

• KEY FEATURES: DJ software with stem separation capabilities. Plug and play capabilities with official NI controllers, ‘Traktor ready’ controllers, or via custom MIDI mapping.
• SUPPORTED AUDIO FORMATS: MP3, WAV, AIFF, Audio CD, FLAC, Ogg Vorbis, non-DRM AAC
• CONTACT: Native Instruments

Pioneer DJ's parent company, AlphaTheta Corporation, is looking to further push the boundaries of wireless audio with the launch of the new HDJ-F10 headphones. The high-end cans utilise the company's SoundLink tech found in the Wave-Eight speaker system that was first announced at NAMM earlier this year.

Aimed at freeing DJs from the tethered traditions of wired audio, the HDJ-F10 are over-ear headphones that connect to the SoundLink HP-TX01 transmitter for 15ms ultra-low-latency audio monitoring, Bluetooth for standard listening, or wired when all else fails.

The headphones are equipped with 40mm drivers and capable of delivering 105dB max levels at a frequency range as low as 5Hz, all the way up to 30kHz. In Bluetooth mode, the headphones also benefit from active noise-cancelling and a battery life of up to 30 hours, or 9 hours with SoundLink.

This is not the first time we've seen a proprietry wireless monitoring system, with AlphaTheta following in the footsteps of AIAIAI and its TMA-2 Wireless+ headphones, but it does remain to be seen whether the tech will be a mainstay of DJ booths in the near future.

We have been lucky enough to check out the HDJ-F10s for testing and you can see how we got on with the wireless monitoring in our full review.

The HDJ-F10s are available in stores now for €439 / $389 / £369. The bundled HDJ-F10-TX option (with transmitter) will be available in Winter 2024 at €549 / $499 / £469 and the HP-TX01 transmitter will be sold separately for €129 / $129 /£109, also on sale in Winter 2024. Check out the AlphaTheta website for more information.

AlphaTheta HDJ-F10-TX review: What is it?

AlphaTheta has released the HDJ-F10 professional wireless DJ headphones with its burgeoning SonicLink technology. Instantly, our thoughts turn to how well this technology translates to a live scenario.

The all-black design makes them stand out by not being flashy. On trying the headphones for the first time, the padded over-ear headphone cup design is comfortable, plus, they feel sturdy and well-built.

The audio specs of the HDJ-F10 are impressive. A 40mm driver delivers a max output of 105dB and a frequency range of 5Hz-30kHz. If you think of the Sennheiser HD25 headphones as being a DJing benchmark, those have 41mm drivers delivering a max output of 120dB and a frequency range of 16Hz-22kHz range.

The headphones use AlphaTheta's wireless SonicLink technology for connecting to the receiver, which offers a latency of 15ms. The headphones can also be connected by Bluetooth or wired, with the supplied cable.

There are other headphone brands that utilise wireless connectivity, mainly Bluetooth, the nearest direct comparison being the AIAIAI TMA-2 DJ Wireless headphones which use W-Link for connectivity. Both systems are comparable, offering similar latency.

AlphaTheta HDJ-F10-TX review: Performance and verdict

There's no denying the HDJ-F10s look good. The all-black design gives them a certain class and the build is robust, but they are heavy. In fact, it was the weight that was one of the first things we noticed in getting them out of the box. At 358g, these are more than twice the weight of our trusty HD25s (171g).

The headphones fit tightly to the head, which has benefits for DJs who do all their mixing in headphones. Those who use monitors, or regularly take their headphones off in the club, may not find these the most practical. Even shifting one side of the headphones behind the ear felt like they were going to fall off. With some practice, we would probably get used to this, but it didn’t feel particularly natural. Over time this may lessen as the stiff headband would likely loosen up a little, as they do with most headphones.

Alongside the HDJ-F10, there is the SonicLink transmitter, like the unit that comes with the WAVE-EIGHT speaker system. The receiver fits in the palm of your hand but does feel a little flimsy compared to the robust build of the headphones. We do wonder how it would stand up to the rigours of a resident or touring DJ. At more than £100 to replace, you wouldn’t want it to break.

Connecting the HDJ-F10 to the transmitter was quick and simple: turn the transmitter on and hold down the connection button on the headphones. A voice tells you that they are connected, and you can get on with plugging the transmitter to your mixer headphone socket.

The headphone connection was solid and only faltered when we moved into the room next door. All around our studio, there was no issue. Within the confines of the DJ booth or stage, the connection would be more than adequate.

The included cable to connect the transmitter to the mixer is approximately 1.5m, allowing the unit to be stashed away and fitted easily under our SL1200. This wire has a twist lock on the transmitter end to reduce the chance of it being pulled out, which was a nice touch. The cable also doubles as the wired connection for the headphones, should the battery run out. The battery life is listed at 9 hours when using SonicLink. This should be suitable for most DJ’s needs.

The sound

On playing our first track, the audio quality in the HDJ-F10 was astounding. Nice detailed mids and tops, underpinned by a rich accurate bass response. There is a good amount of headroom to compensate for the loudest stage or venue.

In the studio, we didn’t need to turn them up more than we do with my HD25s. But it was on stopping the music that we first noticed an audible hiss in the headphones. It lasted for about a second after the music stopped before cutting off. This is worrying.

About one hour in, we found that we were enjoying the audio richness the headphones delivered, but were beginning to suffer from ear fatigue. It remains to be seen whether we'd get used to it after using the headphones for longer.

Conclusion

For recreational listening, the HDJ-F10 can be connected via Bluetooth. The sound quality was just as good as the SonicLink, but that dreaded hiss was still present.

The hiss was evident on all audio sources we tried, including Apple Music, Ableton Live, Netflix and YouTube. However, the hiss disappeared when connected via the cable, making us assume that the transmission process was at fault.

The HDJ-F10 are great-looking headphones. They sound impressive and well-balanced, but the weight and background hiss are considerations that would need to be weighed against the lofty £469 price tag.

Hopefully, the hiss is something that will be resolved in future iterations, as the premise of wireless headphones is a good one overall.

MusicRadar verdict: The HDJ-F10s sound (mostly) great, and look good, but are they worth the £469 price tag just to remove a wire on the stage? Well, that depends on your style of DJing or performance. We're not totally sold... yet.

AlphaTheta HDJ-F10-TX review: Hands-on demos

AlphaTheta / PioneerDJ Global

AlphaTheta HDJ-F10-TX review: Specifications

• Type: Dynamic, closed back, over-ear design
• Weight: 358g (Headphones only)
• Connectivity: SonicLink / Bluetooth / Wired
• Frequency Response: 5Hz-30kHz
• Output Sound Level: 105dB
• Driver Size: 40mm
• Charging Time: Approx. 2.5 hours (headphones) / Approx. 4 hours (transmitter)
• Transmission Range: Approx 15m (SonicLink) / 10m (Bluetooth)
• Playback time: 9hrs (SonicLink) / 30 Hrs (Bluetooth)
• Contact: AlphaTheta

Since its introduction in the mid ’90s, Pioneer’s CDJ range has become the industry standard in digital DJ decks, with flagship model the CDJ-3000 along with CDJ-2000s and XDJ-1000s found in clubs, raves and festivals the world over. 

CDJs have proved to be a complete DJ game changer, setting the standard other tech companies would have to live up to, defining the nature and functionality of the new DJ technology, and causing a seismic change to the craft of DJing in the process. DJs could now bring way more music with them to gigs than before without carrying heavy record bags. And not only could 1994’s CDJ-500 play CDs but you could also scratch, change tempo with or without changing the pitch, and make loops and drum rolls on the fly.  

The technology has moved on substantially over the last three decades and there’s no doubt that the controls and functionality of a pair of CDJ 3000s can be a little daunting the first time you use them. With many DJs learning their craft at home on controllers, we’ve put together a list of ten basic CDJ functions/controls that you’ll need to be familiar with from your controller and that you’ll need to know about to successfully play your first CDJ gig with just a pair of DJ headphones and your USBs. And we’ve even put them in the order that you’ll probably encounter them. 

Note that to write this piece we used a CDJ2000NXS2 and a CDJ3000 as you’re likely to encounter both machines if you gig regularly. We’re going to assume that you’ve selected your music and put it onto USB drives, and that your music library has either been analysed with Rekordbox or you’ve converted your Serato or Traktor library to Rekordbox.

1. USB Stop

The USB port on CDJs is right in the top left hand corner of the front panel and next to it is the circular USB Stop button. You press it before removing USBs to avoid damaging the data. The USB port has an indicator light which will stop blinking after you press the button, indicating that it’s now safe to remove the previous DJ’s USB and put yours in. 

2. Link

Directly to the right of the USB indicator light is a column of five rectangular buttons where you select the source of your music – Rekordbox, Link, USB, SD or (on older models) Disk; on the 3000 the buttons are in the same place but on the touch screen, below the Source button. Press the Link button and (assuming the CDJs are linked), you can access music from a single USB on both decks. You plug in your USB, select USB as the source, then hit Link on the other drive, the one without a USB plugged in, and you can then access all your music on both decks.

3. Rotary selection knob

This is the large knob to the right of the main screen. Turning it moves the cursor on the screen, allowing you to scroll through playlists, artists or tracks and so on, while pressing it selects the playlist or track etc. Directly above the Rotary Selection Knob are two buttons – the left one is the Back button which takes you back from, for example, your playlist to the main screen. 

4. Cue & play/pause

These are where you’d expect to find them, at the bottom left hand corner of each deck – they’re a pair of large, lit up circular buttons which do just what you’d expect them to. Play/Pause either plays or pauses the track, while Cue either sets or returns to a cue point. To set a cue point press Play/Pause to stop the track at the point you want to set it; you can make minor adjustments by ear with the jog wheel to get to the exact spot, then simply hit the Cue button and it will set the cue point, replacing any previous cue point. Then whenever you hit the Cue button the track will automatically return to this point.

5. Quantize

If you’re trying to create a Cue point and it keeps jumping to a slightly different point in the track, it might be because you have the Quantize function enabled, which will pull any Cue points to the nearest beat location. The Quantize button toggles between off and on and is located in the same area on both CDJ models, at the bottom of the Source buttons row on the 2000 and to the bottom left of the screen on the 3000. 

6. Time mode/autocue

Still in the same left-of-the-screen area of the CDJ is the Time/Mode/Autocue button which has a dual function. Press it once to switch between displaying the time played and time left to play on your tracks. Hold it down for a second to enable Autocue which automatically jumps to the first sound when a track loads, skipping any silent sections at the track’s beginning.

7. Track search & search

There are two sets of circular buttons above the Cue and Play/Pause buttons; the Track Search allows you to move instantly to the next track or back to the start of the current track, while the Search button allows you to scroll back and forth through the song.

8. Master tempo

Directly above the pitch control slider is the Master Tempo button which when activated ‘locks’ the pitch regardless of tempo, preventing sped-up vocals that sound like chipmunks. 

9. Tempo

The second button above the pitch slider is the Tempo button which toggles between different widths of percentage of pitch control – 6%  to 10%, 16% and ‘wide’, with 10% the default – enabling you to make extremely precise or very large pitch adjustments at either extremes. The default setting is ±10 and is displayed on the bottom right of the main screen. So if you take over and can’t seem to pitch your tunes up like you could at home, you might need to reset the Tempo – which in this case means how much or how little effect the pitch slider will have on the tempo of the track – to one you’re more familiar with. 

10. Jog mode

On the right hand side, about a third of the way down the front panel you’ll find the Jog Mode button which toggles between Vinyl or CDJ modes. The differences are that you can scratch and do reloads in Vinyl mode - you can’t in CDJ mode - and if you press the platter when the CDJ is in Vinyl mode it will stop, if it’s in CDJ mode it won’t – although it will still respond to pushing and pulling. How much the platter needs to be pushed or pulled to move or stop is determined by turning the Jog Adjust dial which is to the left of the Jog Mode button. So if you get on the decks and it all feels a little weird and unfamiliar, you might just need to switch modes and alter the Jog Adjust dial to get things to feel more familiar. 

Digital DJs who love the Serato system can soon indulge themselves with a little piece of history and keep their control vinyls f-f-fresh and ready for action. The company is releasing special editions of the vinyls that make their system sing.

Released in 2004, Serato Scratch Live’s breakthrough was the combination of a USB computer interface that ‘listened to’ and locked into a REAL vinyl control surface. While other ‘digital DJ’ solutions required turntablists to give up their decks and take up the prodding and pushing of lumpen jog wheels in a poor simulacrum of what had been possible previously, the Serato system let established vinyl-loving DJs scratch something that looked, felt and behaved just like the real thing.

With the advent of Serato, digital DJing was no longer just for by-the-numbers tempo-matching techno heads. Now even the most rapid scratch DJ could benefit from the freedom, speed and ease of working with digital music (rather than heavy and delicate vinyl) and still spin their music in the way they wished.

The hardware/vinyl combo proved so influential to the explosion of hip hop that the system has been lyrically name-dropped in tracks by Eminem, Snoop Dogg, Drake, A$AP Rocky, Kanye and more, while artists such as Questlove, Erykah Badu, Metro Boomin, A-Track, DJ Jazzy Jeff, DJ Snake and Disclosure are on the record as using Serato to make their music.

To celebrate their part in changing DJ culture Serato are producing 1,500 units of a Serato Scratch Live Control Vinyl - 25th Anniversary Edition to be released on October 1st.

The set – yours for $49 – features a pair of 12” 140g control vinyls encased in a commemorative 25th-anniversary jacket. The vinyls are being produced in five classic colours: black, transparent red, transparent blue, orange, and grey marble with the colour you’ll receive remaining secret until you slide them from their sleeves…

Founded in New Zealand by Steve West and AJ Bertenshaw, Serato launched its first product, the much-loved Pitch ‘n Time software back in 1999 becoming the industry standard for time-stretching audio (a miracle at the time) and the future tech behind what would become the Serato DJ system. 

“At Serato’s core is a passion for music and technology, and we’ve built our foundation on the ongoing commitment to creating best-in-class products for DJs and music producers,” said Nick Maclaren, Serato’s Chief Strategy Officer. 

“When Serato Scratch Live was first introduced, it reinvented what was in the realm of possibilities for DJs at the time. As we celebrate 25 years of empowering artists through Serato’s advanced technology, we’re excited for our community to experience the magic of this innovation once again with the reissue of the Serato Scratch Live Control Vinyl.” 

For many DJs, one of the best Pioneer DJ controllers and a laptop at home is more practical and affordable than a full pro CDJ and mixer set-up. Pioneer’s DDJ controllers range from fun, accessible beginner’s units to specialist scratch DJ models and top-level multi-channel professional performance controllers. 

With prices that start at under £200 and go up to around £1,500, there is a DDJ for every section of the DJ market, from complete newbies and casual hobbyists to pro DJs who are gigging every weekend. 

If you’re interested in Pioneer DJ controllers, then this buyer's guide will help you match your particular DJ needs and requirements to the ideal Pioneer DDJ. 

Our top picks

Best overall

Pioneer’s newest flagship pro DJ controller supersedes the popular DDJ1000 with a number of substantial improvements, and in our 2024 review it proved to be a very well-specced and powerful unit. 

The FLX10 is compatible with both Rekordbox and Serato (with a couple of tiny caveats), has a fully implemented Stems control, customisable multi-mode jog wheel displays, an improved Magvel crossfader, DMX connectivity for lights, and new Beat and Sound Colour FX and auto mix functions. 

Aside from its excellent level of functionality, the FLX10’s big advantage is its reassuringly familiar industry-standard layout, which means switching to CDJs in the club or festival should be a breeze, making this a strong Pioneer DDJ choice for DJs who want to go beyond playing at home or online. 

Read our full Pioneer DDJ-FLX10 review

Best on a budget

In our test, we rated the FLX4 highly, praising its combination of accessibility and decent spec for the price point. It’s a stripped down version of the FLX10, and while it obviously has fewer controls and less functionality than its bigger sibling, it has everything required for a beginner to get to grips with DJing.

It’s a beginner's controller and it comes with Automatic Mix and FX functions that won’t be of much interest to seasoned DJs but which are ideal for newbies wanting to try DJ techniques out, and which in our test worked smoothly and effectively.

The FLX4 is also compatible with Serato, has Bluetooth connectivity so you can DJ from your phone and, unlike its predecessor the DDJ400, can include your mic output in the main output, so you can easily MC or give shout-outs over your mixes. 

Read our full Pioneer DDJ-FLX4 review

Best for beginners

Pioneer’s DDJ-200 is its beginner’s DJ controller and has a basic feature set designed to make the DJing process simple and accessible. You can use it with beginner DJ apps WeDJ, djay and edjing Mix, as well as Rekordbox, and is super easy to set up. You simply plug it into some speakers and headphones using the split cable it comes with, then connect it to your laptop or phone via its single USB connection and you’re good to go. 

It has all the basics you need to start out including a pair of jog wheels, performance pads, tempo sliders, crossfader and three band track EQ along with Beat Sync buttons and Pioneer’s automaticTransition FX, which are automatic multi-effects made to aid transitions. 

It’s very light so, in theory, you could gig with it – although in practice you don’t really get sturdy units at this price point, so in that sense it’s perhaps not the ideal travelling controller. 

Best for Rekordbox

The DDJ-800 was a compact version of the DDJ-1000 which has now been superseded by the FLX10, leaving the DDJ to fill a very particular niche, that of portable mid-level Rekordbox-only 2-channel DJ controller. Its particular strength is that it is specifically designed as a gigging unit, so it’s light and compact, which is obviously an advantage when travelling to the gig, but does mean that some of the controls are small. 

It comes with a set of Pioneer’s Beat and Sound Colour FX which you can also use on external gear like vinyl record players (although only when the 800 is connected to Rekordbox). It also has customisable jog wheel displays, balanced outputs, a set of responsive performance pads, while its familiar club-standard DJM-style mixer and general layout is close to the kind of CDJ set-up you’ll likely find in a club or festival setting. 

Its decent feature set, together with the DDJ-800’s compact size and light weight, make it a very strong choice for any DJ who needs to travel with their controller.

Best for scratching

At £1500, it's a little more expensive than its ‘non-scratch’ two-channel sibling the DDJ-FLX10, but the REV7 gives you a raft of functions and controls designed specifically for open format and scratch DJs: a ‘battle’ set-up with horizontal pitch controls, a customisable Magvel crossfade, customisable jog wheels so you can choose between levels of torque and friction in the platter movement, four dedicated ‘instant scratch’ buttons with internal samples, and a spacious mixer section to provide maximum scratch-room. 

The REV7 also comes with some brand new Beat FX – Duck Down, Fill Out and Helix Out – which are multi-effects specifically designed for multi-format or scratch DJs to perform transitions in creative, original ways using fills, rolls, drops and risers.  

It also has a decent set of inputs so you can hook up actual vinyl decks or other additional gear, and although it doesn’t have the FLX10’s dedicated hardware stems controls, Serato stems can be controlled from the performance pads. 

Best mid-range option

The Pioneer FLX6-GT is a four-channel controller for multiple DJing apps. It has no need for you to download any drivers, you can simply plug it in and get DJing. 

It's virtually the same as Pioneer’s FLX6 DJ controller, but with a nice visual upgrade in the shape of the graphite grey finish. So you get the Pioneer club-standard layout with track EQ, Beat FX, Sound Colour FX and two sets of performance pads – but the GT also has updated and slightly larger jog wheels that are now the same size as standard CDJs, which is a nice bonus. 

Its unique selling point is the large ‘Merge Effects’ knob on the top right of each deck which can be used for creating all sorts of drum rolls, drops and risers, which, along with the ‘instant scratching’ Jog Cutter FX, are aimed squarely at open-format DJs. 

Best for Serato

The 1000SRT was Pioneer's dedicated Serato version of their highly successful DDJ1000 controller. The 1000 has now been superseded by the FLX10 but, to date, Pioneer hasn't produced a FLX10SRT. Instead, the FLX10 works with Rekordbox and Serato (with near-perfect Serato mapping: the FLX10’s new Mix Point Link function is missing in the Serato implementation, and not all the performance pad labels match – see our review). 

Prior to the FLX10, the DDJ1000SRT was a strong Pioneer controller option for Serato DJs. However, the FLX10 is better specced, has improved jog wheel displays, more FX and full part separation implementation too.

It’s difficult to justify choosing a new 1000SRT over a new FLX10, but a second-hand 1000SRT could still be a very strong controller choice for the Serato DJ. 

Best Pioneer DJ controllers: Buying Advice

When deciding which Pioneer DJ controller is the right one for you there are a few key factors (after budget, obviously) which will help narrow down the options: software, DJ style, home use or gig use, and number of channels. 

If you’re currently using Serato, Tractor or Virtual DJ rather than Pioneer’s software Rekordbox, you’ll need to consider which DDJ unit works with your software. Most of the DDJs we’re looking at here are Rekordbox and Serato compatible but Traktor, VirtualDJ and djay users have fewer options. 

If you’re a scratch DJ then the REV range should be where you concentrate your research as they include specific design elements for turntablists such as large jog wheels, lots of space around the crossfaders, horizontal 'battle'-style pitch controls etc. 

Are you planning on using your controller at home or would you like to plug it into the sound system in your local bar and put a night on? If you want to travel with it then you'll need to consider how rugged it is. And if you want to play music in public rather than just at home or online, the quality of the preamps and the outputs may affect your buying decision too. 

Finally, most DJs are fine with two channels, but for some, an extra pair and the chance to connect external gear like a vinyl record player is an important factor to consider too. 

How we choose products

Here at MusicRadar, we are experts in our field, with many years of playing, creating and product testing between us. We live and breathe everything music gear related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides. 

When choosing what we believe to be the best Pioneer DJ controllers available right now, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.

First and foremost, we are musicians, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best Pioneer DJ controllers on the market right now.

Find out more about how we test music gear and services at MusicRadar.

Related buyer's guides

• Our pick of the best DJ headphones available today
• Upgrade your rig with the best DJ speakers
• The best DJ turntables: top decks for vinyl DJs
• Check out the best beginner DJ mixers
• Essential DJ accessories for the studio to the booth
• Our pick of the best gifts for DJs

It’s an interesting quirk of the music technology industry that, as DAWs get more powerful and easier to use, an increasing number of people are looking for tools that enable them to jam and record without one. Perhaps this is driven by a desire to have a more tactile music-making experience, or maybe it’s as simple as wanting to do things a bit differently to everyone else.

Either way, the DAWless music-making community is certainly getting bigger, and Zoom is now offering members of it a compact and portable 10-channel mixer and recorder that looks particularly suitable for those who want to jam with multiple synths.

The LiveTrak L6 has two combo mic/line inputs and four stereo pairs of 1/4-inch line inputs, plus four sound pads (for triggering samples), two aux sends and five internal send effects. You can record up to 12 tracks simultaneously, and there’s MIDI I/O for mixer control and USB MIDI interfacing.

To save on space, channels 1 to 6 have knobs rather than faders for level adjustment, while other controls for each channel include pan, aux send levels and a 3-band EQ. As well as offering 32-bit float multitrack recording to microSD card, you can also stream audio to your computer or iOS device via USB (the LiveTrak L6 can function as a 12/in/4-out audio interface).

Eurorack compatibility adds another string to the L6’s bow, and power can come either over USB or from four AA batteries.

As things stand, the only official information on the LiveTrak L6 seems to be the quick tour video above, but we’re assuming that more details will soon be added to the Zoom website. We’re expecting a price of $299.

Lengthy performances are becoming more and more common these days, with pop acts like Taylor Swift delivering arena shows that reach well beyond the three-hour mark, but extended sets have long been a fixture of the DJ world, with tireless selectors helming the decks for all-night-long parties that stretch into the early hours. 

Electronic artist and DJ Sam Shepherd - better known as Floating Points - just delivered one such set, a 5-hour marathon in New York for party promoter and livestream platform Boiler Room that's now been uploaded in full to their YouTube channel. 

Taking place at New York's H0L0 club, the set marks the second time Shepherd has played for Boiler Room since he appeared at the platform's second-ever edition all the way back in 2010, a recording that's since been lost. 

Armed with a four-deck set-up comprised of two Technics SL-1210 MK7s, two Pioneer DJ CDJ-3000s and a MasterSounds Valve MK2 rotary mixer, Shepherd spun his way through an almost exclusively vinyl-only set that showcased the admirable breadth of his genre-spanning record collection, with Shepherd's friends and DJ royalty Four Tet and Ben UFO both in attendance. 

Tempering leftfield house and caustic techno with soul, funk and disco, Shepherd reached further afield as the night went on, drawing motoring krautrock and Brazilian samba from his seemingly  record bag before dipping into cuts from his forthcoming album, Cascade. 

Scheduled for release September 13, the project is set to be Shepherd's most club-focused release yet, produced with an unusually bare-bones laptop-and-headphones set-up while the artist was out in Los Angeles working on a score for the San Francisco Ballet's Mere Mortals. 

"I’m just constantly chasing challenges," Shepherd says in a statement. "I always want to keep things moving and go all in on things that excite me. Whether that’s working with a 100-piece orchestra on a ballet or on a laptop on my own."

Novation has unveiled the fourth generation of its Launchkey range of MIDI controller keyboards. Made up of six models, stretching from the 25-key Launchkey Mini 25 to the 61-key Launchkey 61, the series has received a comprehensive update that brings new features and functionality to the table.

Novation has fully reimagined the Launchkey Mk4 range, overhauling the look and feel of the controllers while integrating new features that make them a more versatile tool for hands-on DAW control and live electronic performance.

Every model in the range has eight encoders and 16 velocity-sensitive pads that are now equipped with polyphonic aftertouch. The previous generation's screen has been replaced with a brighter and larger OLED display to make navigating parameters and controls faster and more efficient. 

The 49- and 61-key models also feature nine faders for hands-on control of your DAW's mixer, along with redesigned keyboards with semi-weighted keybeds that offer a more precise response and an authentic piano-like feel. You can now split the keyboard into independent zones to control different sounds, or use the layer feature to control two instruments using the same keys. 

Though Launchkey has always been able to control almost any DAW via the HUI protocol, the range has formerly been aimed at Ableton Live users. This is no longer the case, as the Mk4 range now ships with custom-built scripts for Ableton Live, Logic Pro, FL Studio, Cubase and Reason, so users of those DAWs can get started straight out of the box.

Launchkey mk4's Scale Mode has been updated with 22 new scales, which play nice with Live 12's new Scale Awareness feature. Its Chord Detector will analyse your playing to tell you which chords you're playing, while three new Chord Modes can be used to perform chords using single keys. The patterns of Launchkey's arpeggiator can now be edited and sequenced using the controller's 16 pads.

The range arrives bundled with a suite of software that includes Ableton Live 12 Lite, along with Klevgrand effects plugins, vintage synth emulations from Gforce and orchestral instruments from Orchestral Tools. You'll also get access to keyboard tuition platform Melodics.

Prices and specs for each model can be found below.

Visit Novation's website to find out more.

Launchkey mk4 range

• Launchkey 61 - (61 full-sized semi-weighted piano-style keys and nine faders): £279.99/$299.99
• Launchkey 49 - (49 full-sized semi-weighted piano-style keys and nine faders): £229.99/$249.99
• Launchkey 37 - (37 full-sized keys): £199.99/$209.99
• Launchkey 25 - (25 full-sized keys): £169.99/$179.99
• Launchkey Mini 37 - (37 mini synth-action keys): £139.99/$149.99
• Launchkey Mini 25 - (25 mini synth-action keys): £109.99/$119.99

Pioneer DDJ-FLX10 review: What is it?

The DDJ-FLX10 is Pioneer’s new flagship DJ controller for performance, replacing their DDJ-1000 and DDJ-1000SRT units. Its cost (currently around $1,600/£1,400) puts it at the higher end of home DJ units, occupying the space between amateur/beginner controllers and a fully-fledged pro set-up, and it comes packed with features to match the price point.

It’s a four-channel performance controller, in the standard club configuration of a pair of decks with full-sized performance pads, a mixer section in the centre, separate three-band EQ for all four tracks, and Beat FX and Sound Colour FX sections. It has one balanced XLR master output, two RCA master outs, TRS booth and DMX outputs, along with two stereo line/phono inputs, two USB-C ports, a pair of mic inputs, and 1/4” and 3.5mm headphone connections.

New developments on the FLX10 include the addition of multi-mode displays on the jog wheels, an improved Magvel crossfader, DMX connectivity for lights, a new 'Stretch' Beat Effect, two additional Sound Colour FX, and an automatic mix function called Mix Point Link.

However, the two biggest innovations here are the inclusion of real-time stems (or ‘track separation’ in Pioneer-speak) tech and dedicated controls, along with Rekordbox and Serato compatibility.

Pioneer DDJ-FLX10 review: Performance & verdict

I found the FLX10 to be slightly larger and heavier than its predecessor but still light enough to carry around if needed. The main case is plastic but the overall build feels robust enough, and the jog wheels, faders, knobs, pads, inputs and outputs all feel reassuringly solid. The crossfader has been improved from a two to four sensor system for more sensitivity and there’s plenty of space around it, making it ideal for scratching and turntablism.

Personally, I’d like the option to adjust the crossfader tension like you can on the nearest competitor, which is the Rane Four, but although you can adjust the curve in Rekordbox or Serato settings I couldn’t find a way to adjust the tension, so you’re stuck with a scratch-style ‘loose’ crossfader.

The Rane Four compares very favourably with the FLX10, although it's a Serato-only unit while the Pioneer is primarily a Rekordbox controller which also has near-perfect Serato implementation (we only tested the unit with Rekordbox but reports suggest there are a couple of small areas where the FLX10 doesn’t map exactly to Serato and the Mix Point Link function isn’t available in Serato at all).

Unlike the Pioneer, the Rane has balanced inputs, the case is metal, comes with a standard IEC socket and lead, and in our tests was the best DJ controller in terms of stem separation. However, the FLX10 comes with a tempo reset button, double the number of external inputs, DMX output for direct lighting control (although only in Rekordbox), and it also possesses another big advantage: its layout and controls, while simpler than a pro CDJ set-up, are similar enough that switching to using CDJs in the club should be completely painless.

The substantial change on the FLX10 from the DDJ-1000 are the track separation controls in the mixer section and above the loop buttons. In short, this function allows live separation of sections of a song, into either drums, vocal or instrument. Once you enable the stems function in your software’s settings, the three colour-coded buttons above the loop buttons and in the Beat FX section become active. All three parts are active by default, then if you hit, for example, the drums button, the drums simply disappear and you can isolate just the vocals, or just the vocals and drums etc. in any combination. It works instantly and easily, and they’ve also included an FX part select function which allows you to apply Beat FX to individual parts, opening up all sorts of creative possibilities. It’s all colour-coordinated with matching side lights on the jog wheels indicating which part is playing and the implementation is impressively accessible and highly usable.

The sound isn’t perfect however, and the isolated parts sometimes sound grainy or a little distorted, although I found that the drums generally sounded fine, and sometimes the isolated vocal or music parts were surprisingly clean. Presumably, the algorithms involved will continually be updated and improved. In the meantime, the FX part select function is particularly impressive and again, very accessible and usable for a bit of live remixing.

The seamless stems integration is also reflected in the general design of the unit, and one of the FLX10’s greatest strengths is its layout and ease of use, with each section clearly delineated from the others, and with enough space to comfortably navigate around the various controls.

The jog wheels now have four visual modes which you can easily switch between using the shift and ‘page’ buttons, allowing you to easily get a close-up look at your waveform if needed, as well as an artwork mode, which will be super-useful for DJs who remember tunes via what the cover art looks like.

Pioneer have also expanded the effects on the FLX10 too. There’s a new ‘Stretch’ Beat FX which does a pretty good impression of that classic 90s jungle timestretch sound, and two new Sound Colour FX, a highly useful ‘Space’ reverb and a ‘Crush’ effect that sounds a bit like filtered ring modulation.

Pioneer DDJ-FLX10 review: Hands-on demos

DJ City TV

Digital DJ Tips

Crossfader

Pioneer DDJ-FLX10 review: Specifications

• Compatibility: rekordbox, Serato DJ Pro
• Soundcard: 24 bit/44.1 kHz
• Channels: 4
• Deck control: 4
• Sampler: 16slot x 4bank
• Hot cues: 16
• Inputs: 2x line (RCA), 2x phono (RCA), 1x mic (XLR & 1/4 inch TRS), 1x mic (1/4 inch TRS Jack)
• Outputs: 1x master (XLR), 1x master (RCA), 1x booth (1/4 inch TRS Jack), 1x phones (1/4 inch stereo phone Jack), 3.5 mm stereo mini jack x 1
• USB: 2x USB-C
• Contact: Pioneer DJ

In the coolest submission to the LEGO Ideas platform since the LEGO Minimoog, LEGO builder Tomasso has designed a LEGO version of the Technics SL-1200 MK2 turntable. 

Made up of 2,215 pieces, the design sticks closely to the turntable's original aesthetic and even features a built-in motor to drive its rotating 7" platter, start and stop buttons to control the motor, and a working tonearm with adjustable balance weight and anti-skating knob. 

Tomasso's LEGO turntable has been submitted to the LEGO Ideas platform, where fan-made projects are shared by the LEGO community. If their proposals receive enough support, fans' designs are transformed into genuine LEGO sets. If an idea racks up 10,000 supporters, LEGO will consider the proposal for production; so far, the Technics has 176 supporters and 421 days remaining to hit 10k. 

This isn't Tomasso's first entry into the world of LEGO DJ gear; last year, he designed a LEGO version of the Pioneer DJ CDJ-2000, which earned 10,000 supporters on the LEGO Ideas platform, before following this up with an entirely LEGO DJ setup, complete with a Pioneer DJM-900 mixer, Sennheiser HD25 headphones, and KRK Rokit 7 G4 monitors. 

Support Tomasso's design on LEGO Ideas. 

Revisit our 2022 feature on the Technics SL-1200 series.