AlphaTheta DJM-V5 review: What is it?

Launched in 2020, Pioneer DJ’s DJM-V10 is an all-singing, all-dancing six-channel mixer that has proved remarkably popular with professional house and techno DJs.

A big part of the V10’s appeal lies in its sound and build quality, both of which are a noticeable step up from much of the DJM range. Beyond that though, the mixer also offers a fresh approach towards performance effects, ditching the Sound Color FX found on other Pioneer/AlphaTheta products in favour of a focus on effect sends more akin to the design of Allen & Heath’s top-end Xone mixers.

For all that the DJM-V10 gets right, it’s an undeniably high-end device, and a significant commitment in terms of both its hefty size and near-$4k price. It’s also overkill for the needs of many DJs and smaller clubs.

The DJM-V5 is a response to this. Released earlier this year – now under Pioneer DJ’s parent brand AlphaTheta – the V5 has three mixer channels based on the V10’s design ethos, resulting in a smaller footprint and a more affordable price, relatively speaking.

The V5 isn’t simply a cut-down version of the V10 though. In the process of streamlining the design AlphaTheta has also introduced some new features and refined others, resulting in a mixer that feels like a more focused and, in some areas improved version of its bigger sibling.

Pricing

Launch price: €1,999 inc VAT, £1,739 incl VAT, $2,199 excluding sales tax (US only), $1,999 excluding tax (Canada and Latin America)

AlphaTheta DJM-V5 review: Performance

The three mixer channels found on the V5 are actually based on those found on the later DJM-V10-LF. These offer 60mm long-throw faders with no crossfader.

This is one of several significant ways in which the V5 feels specifically aimed at a certain type of house or techno DJ likely to emphasise slow, methodical track blends over quick cuts or scratching – a style perfectly suited to those long-throw faders.

Realistically, the bottom third of a channel fader often feels redundant on most mixers, since it’s only at around 40% volume that a track begins to make itself known under the master output. The extra length of the long-throw faders means there’s considerably more ‘active’ space between that lower level where a track is first audible and the maximum, which makes it possible to introduce a track more subtly and to be more precise when changing the emphasis from one track to the next.

Above each fader is a 4-band EQ that splits the mid-range frequencies into low and high mids. As with similar design found on Allen & Heath’s top-end Xone mixers, I have mixed feelings about having this extra EQ compared to a more common 3-band setup. It’s useful for slower transitions, which is certainly fitting for the V5’s design, although it can make things a little more fiddly if you want to quickly swap the low end between two tracks.

The V5’s channel faders can be switched between three different curve modes, including a new ‘soft’ mixer curve. In this mode, reducing the fader level cuts the volume of the track while simultaneously rolling off the high frequencies, the aim being to ‘soften’ the output as it's mixed out in a musically flattering manner.

I really like this as a concept, although I wish the effect was a little more pronounced. While subtlety is the name of the game for the V5, which is generally a good call, the difference between soft and non-soft mixer modes can be hard to discern, at least to my rave-aged ears.

More successful is the new XPF, or cross-pass filter mode. This combines both high- and low-pass filters so that, as the cutoff knob is turned to the right, the filter sweeps up through the high frequencies but keeps the very lowest frequencies in the mix, like a widening band-pass. This is a really fun tool for creating builds and raising tension without messing with the sub elements of a track.

On the subject of the filters, it’s worth noting that the filters on each channel are controlled by a single-direction cutoff knob. This means that, unlike most DJ mixers where the cutoff is turned to the left for a low-pass effect and right for high-pass, here the filter type is selected using the buttons to the left of the interface and then the cutoff knob is turned from left to right to increase the prevalence of the filter effect. This setup can feel a little counter-intuitive and is likely to divide user opinion, but it does mean that there’s more travel and – again – more space for subtlety when engaging each filter mode.

The highlight of the V5’s design, however, is the way it handles effects. The V5 ditches the tempo-synced Beat FX and swept Sound Color FX found on most of AlphaTheta’s other gear. Instead it makes use of both internal and external effect sends, with the internal processors putting most of the emphasis on delay and reverb.

The internal effects are housed in the Send FX module, which offers six reverb and delay effects divided into tempo-synced and non-synced types. In a neat design trick the time knob – which is a shared control dictating the length of each effect – adapts to provide haptic feedback marking the beat division when used with synced effects, but offers smooth free-flowing movement when used with non-synced modes.

With just six options, there are significantly fewer effect types than found on the V10 – or on many cheaper DJM mixers for that matter – but rather than feel like a downgrade, the design of the V5 feels more considered and focused on what its target users are likely to actually use.

Another significant change compared to the V10 lies in the fact that the return level is now controlled by a fader, as opposed to a knob. This might sound like a minor change on paper, but in practice it makes for a far more expressive way of manipulating the effects channel. It’s a really smart update.

Along with its internal routing, the V5 also has both a ‘multi-I/O’ channel that can be used for either analogue send/return connectivity on its rear panel, or a top-panel USB-C port that, among other things, allows for single-cable connectivity with AlphaTheta’s recent RMX-Ignite effects unit.

AlphaTheta DJM-V5 review: Verdict

Verdict

While the V5 is cheaper and smaller than the V10, this is still a pro level piece of kit offering the same top-end sound and build quality.

The choice of three mixer channels rather than a more conventional four-channel setup might seem odd to some, but in-use it feels like a good level of compromise. The V5’s neat size and streamlined feature set make it a more approachable and immediate DJ mixer than the V10.

The combination of that third channel and the multi-I/O connectivity provides just enough flexibility for DJs looking to push their sets beyond a basic two-deck setup, whether that involves adding an additional player or turntable, an external effects loop or some ‘live’ element like a drum machine or sampler.

The inclusion of one-knob compression on each channel is a nice touch on this front, providing an easy way to balance disparate inputs or compensate for the difference in mastering between a modern track played from a CDJ and classic played on aged vinyl.

Again, this combination of features really lends itself to a specific type of DJ. The V10 was already a mixer aimed more at club DJs than multi-format or scratch DJs, but by refining things further AlphaTheta has doubled down on this identity.

With its long faders, playable spatial effects and interesting filter design, the V5 is a mixer specifically suited to DJs that like to blend long, looping forms of dance music, where mixes for one track to the next might take several minutes and involve carefully cutting and emphasising individual frequencies.

Does this focus on a specific type of DJ risk alienating some of the potential market? Definitely. Even among house and techno DJs, the V5’s specific set of tools won’t suit everyone. But that commitment to the bit is worth celebrating.

In recent years the DJ market has seen a lot of releases that aim to be all-things to all-DJs, particularly when it comes to controllers and all-in-one systems. The DJM-V5 is a mixer that knows who it’s for and which encourages a certain style of mixing. The result is a more interesting, creative and musical piece of DJ kit.

AlphaTheta XDJ-AZ review: Hands-on demos

AlphaTheta / PioneerDJ Global

AlphaTheta XDJ-AZ review: Specifications

• MIDI Control: Full assignable MIDI controls
• DVS Control: djay Pro, rekordbox , Serato DJ Pro
• Dimensions (W × D × H): 302.0 × 437.5 × 107.9 mm / 11.89″ × 17.22″ × 4.25″
• Main unit weight: 8.0 kg / 17.6 lbs.
• Input / Output terminals
• Input: PHONO × 3 (RCA), LINE × 3 (RCA), MIC × 1 (XLR / 1/4-inch TRS jack)
• Output: MASTER × 1 (XLR), BOOTH × 1 (1/4-inch TRS jack), REC OUT × 1 (RCA), PHONES × 2 (1/4-inch / 3.5 mm)
• SEND/RETURN: SEND × 1 (1/4-inch TS jack), RETURN × 1 (1/4-inch TS jack)
• LAN × 1
• USB Type-C × 2 (MULTI I/O × 1, PC/Mac × 1)
• Sampling Rate: 96 kHz
• A/D Converter: 32 bit
• D/A Converter :32 bit
• S/N Ratio: LINE 105 dB / PHONO 88 dB / MIC 79 dB
• EQ4 Band
• Contact: AlphaTheta

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.

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.

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.

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.

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.

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.

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.

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.

It seems that the concept of buying music gear that you make yourself is spreading as quickly as using AI to actually create music – anyone else see a strange irony there? 

Korg, of course, is a big endorsee of the DIY process, ‘allowing you’ to build several products such as the Nu:Tekt NTS-1 Digital synth. What next? We go to the factory to pick up the parts? Submit our own circuit board designs for future revisions?

Anyway, we digress, because Audiotonix is the latest company to not bother building its own gear but, as it turns out, with very good intentions. 

The company, which also services a number of other audio brands including Allen & Heath, Harrison and Sound Devices, has developed the new Steam powered DJ mixer kit as it sees a distinct lack of new engineering talent coming into the audio industry. 

Audiotonix sees its new DJ kit as a step to combat this shortage of expertise, as its CEO James Gordon explains.

“It’s our collective responsibility to help develop the next generation of engineers, starting whilst they are at school. To build more interest in engineering and help develop these core STEM skills, we have created a kit-based, USB-powered, 2-channel DJ audio mixer that students can build and assemble themselves or as a team”.

The idea is for the company to offer the mixer at a discount for youth groups and charities and then reinvest any cash made into more kits.

While that all sounds very worthy, we should mention the actual mixer. Its construction requires some soldering – unlike some other DIY gear – so there are detailed instructions, including videos, to help you put the three printed circuit boards together, each of which has holes that components need to be soldered into. 

Audiotonix says of the process, “students will gain an understanding of how the different technical elements work together, and create a product they can use to develop their creative skills.”

The Steam DJ kit sells for £299.95 plus local tax, and you can register to participate in the scheme – where the discounts are presumably arranged – through the Audiotonix website. 

"All schools, youth groups and charities can register their interest," says Audiotonix on potential applicants, "and we will be in contact in the coming weeks with how we can help."

The name Carl Cox needs little introduction to dance music aficionados. A veteran of acid house and techno, he’s become one of the most celebrated DJs on the planet, nurturing the club scene with relentless enthusiasm. 

A founding father of the emerging British rave scene, Cox’s F.A.C.T. mix CDs were hugely influential in the mid-’90s, followed by releases on his own Intec and Intec Digital labels, which seeded success for dozens more artists. However, his pioneering career has not been all plain sailing. Disillusioned by the process leading to the release of his 2011 album All Roads Lead To The Dancefloor, Cox swore it would be his last. 

That all changed when he acquired a Pioneer DJM-V10 6-channel mixer, which allowed Cox to record and remodel stems culled from his hybrid live performances. Captivated by his improvised jams, his passion for music making was instantly renewed, leading to the swift release of his latest studio album Electronic Generations.

It’s been 11 years since your last album All Roads Lead To The Dancefloor. What were the reasons for such a lengthy recording break?

“When I made that album I was using other people’s studios, but I was never comfortable doing that because the sound, the environment or my head never seemed to be in the right place. I’d write a track and then I’d think to myself, what do I do next, breakbeat, acid, folk? I was fighting to make every single track and an album in its entirety. 

“I stand behind everything I’ve done, but when I was sitting in a studio that wasn’t mine with two producers who I love dearly but had different ideas about how the music should come out, it was quite an arduous task because I wasn’t getting hands on with the gear. With All Roads Lead To The Dancefloor, I wore my heart on my sleeve and used a lot of vocalists, percussionist and guitarists from Melbourne. 

“My only regret was that it was put out independently, so the time, money, ideas, concepts and marketing fell down to myself and Jon [Rundell] who was running Intec Records for me at the time. We had this clever idea to put the album out on a USB stick too, but it took a year to make and cost me a fortune.”

You took the album out live too. Did that go to plan?

“I said to myself that the only way to really sell the album was to go out live, so I did two live shows in Australia, which were really good, but gathering everybody together was like herding cats [laughs]. Going out as a DJ was a foregone conclusion, but going out as a live artist is another story completely – it was difficult to roll it out and sell it as a live album. 

“When I signed to BMG 30 years ago, I went out as a live artist and had a really great time doing those shows, but it took a lot of time to put them together and DJ at the same time. It’s much easier to play live now, especially in terms of all the equipment you have to take out with you, but I got to the end of that album and said to myself, that’s it – I’m not doing any more. In the end, I built a studio just to do club tracks and remixes.”

What brought you back to recording music again?

“During the pandemic I turned the studio into a live streaming room. All the machines that you see here were in separates and I thought, I’ve got plenty of time on my hands so why don’t I just chuck all this stuff together and see what happens. I started experimenting – what if I buy that module or what will it sound like if I plug this into that drum machine? Instantly I was making music with no pressure whatsoever. 

“After putting all the machines together, I was asked to do live streams for certain festivals that I couldn’t physically be at. Movement Detroit was the first one but I told them that I didn’t want to DJ; I wanted to play my machines and go live with music that nobody’s ever heard before. They said, sounds like a good idea and you’re Carl Cox, so why not? So I put all the gear together and did a few rehearsals behind closed doors.”

How did that process turn into what we hear on your new album, Electronic Generations?

“One of the reasons why this album came about is because I was using a Pioneer mixer called a DJM-V10. It came out just before the pandemic and after I’d used the beta version I told everyone that this mixer was going to be a game changer. People laughed at me because there are millions of mixers on the planet and I’d obviously got paid to say that, but I’d been working with Richie Hawtin’s Model 1 mixer, which is great, and there are a few things that it can’t do. One of those is recording live stems for each channel via MIDI. 

“I thought to myself, if I’m running all of my machines through the V10’s 6-channel mixer and can record everything that I’m doing as stems, that’s a game changer because I’m jamming and rocking the hell out of these machines and adding certain elements to my music that I never would have thought of sitting in front of a computer. Once I’d done a mix, I could go back, remove the top and the tail of it and turn it into a track. That’s something I’d never done before.”

Did you have any technical problems recording the live sets?

“Sometimes the MIDI drops out, which makes things interesting. To be honest, you have to expect the unexpected. If it does fall over, great – it’s live, we’ll be back in a minute – does anyone know any songs? My fall back is that I have a second computer and a DJ setup if need be, so I can still provide a show. But there’s no pressure on the computer’s CPU whatsoever, so unless someone spills a beer on it I can more or less guarantee that we’ll get through a two or three-hour show.” 

How inspiring was it to stumble on a new way to make tracks?

“Sitting in front of a computer with nothing going on and creating a bassline or a drum pattern is nice, but it’s just nice. When you’re playing live, there’s nothing nice about it – it’s coming out raw and you’re not thinking about anything other than what you’re creating at that particular moment. For me, jamming out my wildest techno fantasies and finding out what I could get out of these machines was really exciting. 

“Even if it’s not making sense, you just stem everything out, take out what you don’t need and put in what’s missing. When you start working with these machines, after a while they start working for you. There’s a synergy and then the machines give you what you’re looking for and then some. I’d never have been able to sit there and programme any of it because I wouldn’t get any happy accidents. Thanks to the V10, this is the only way that I was able to come back and make an album, and now the whole studio makes more sense to me.”

Can you tell us about some of the machines used in your live setup?

“Equipment-wise, the Moog Subharmonicon is an amazing machine to have – although trying to control it is another story. I have a love/hate relationship with it. It’s such an amazing, powerful piece of kit that you have to try and capture those moments where its weird sharp keys end up. The sound moves around a lot, so you have to try and catch those oscillations because it’s hard to make sense of that while the pattern is being driven. On the one hand you’re fighting against the Subharmonicon, but it allows you to be more creative than you’ve ever been – it’s like a wild bull, but it’s responsible for a lot of the weird, spacey stuff on the album. 

“The Moog DFAM (Drummer from Another Mother) is my go-to shuffle drum machine and is just brilliant, and I used a Korg Monologue on most of the tracks. A friend of mine told me that I needed to get one of them in the studio because it’s got some really good presets, you can write basslines on the fly and it’s small, so I bought the machine and thought, wow, it’s pretty powerful. 

“The presets have a lot of really good analogue LFO movement and you can obviously manipulate those and do variances on the LFOs live. A lot of the top lines on the album are from that machine and it sits right at the front of my
live set.”

Is it true that you dusted some old gear down from your garage too?

“I had boxes of stuff that people had sent me – a TR-8 here and a Pioneer DJS-1000 there, so I was just pulling stuff out and hooking it up to see what it did. If I didn’t understand something I’d go online and look at tutorials. Most of the first part of the album comes from the DJS-1000 sampler. All I did was sit down and work on it for a week; then once I had a bunch of tracks I used it as a master controller and daisy-chained everything from there. 

“I love hardware because software doesn’t translate live. For me, it’s not a live show until you can move, play and physically hit something – it’s the only way I can show that I‘ve gone from DJing to being a live recording artist that can perform live.” 

How did the demo process take shape?

“I did another show for Mystery Man, one for our own label and certain shows for charity and I just found myself making all of this music – about four albums’ worth of mad tracks. Out of those live recordings I just sat down and, within a day, had about 18 tracks to work on. I demoed all the tracks and a couple of friends of mine told me send them to labels, but I didn’t think they’d be interested in someone who’s been around for eons making music out of all these machines because it’s not studio-based-sounding music and it’s not for the dancefloor, festival or clubs, it’s just raw electronic music coming out of these machines based on what I’d created. 

“Thankfully, BMG’s Matt King decided to get back to me as soon as he heard it and said that’s exactly what we want to hear Mr Cox and we want you to sign a three album deal. I thought, if someone had told me that 30 years ago I’d be rich [laughs]. It’s unbelievable really because I’d always made music to suit the industry, but this album was the complete opposite; I was jamming my arse off for no other reason than having fun. They asked when I could finish the album off and I said, sometime next week – it’s done.” 

Were the tracks really completed that quickly?

“The process of making the music was really quick, but the clever bit was getting the tracks to make sense. When you’re playing live, things come in on the threes, the ones and the twos – and some of the sounds were so improvised that a lot of the music is around the beats but not on it, so there was no real structure. When you work on a computer, everything’s so structured, but this music didn’t comply – sounds just came in when they felt right, but thanks to the process they at least had energy, soul, groove and power.” 

The process sounds not so dissimilar to making house and techno tracks back in the day…

“Most of the acid house and techno music I was buying at the beginning was made on that basis. There was no Ableton Live or any of the amazing software we have now – there was no computer powerful enough to run those things. Back then it was like, woo, I’ve got a 4MB computer, this is great! You’d use a plugin and it would fall over. 

“Most of what was recorded went onto a two-track tape and was spliced together and some of those records became seminal. Nobody could follow or copy those tracks because of how they were laid down. If you think of a track like Derrick May’s Strings Of Life, it was simple really, but genius at the same time.”

Once you’d sourced enough material for demos, how much more work did you need to do to turn them into fully-formed tracks?

“Not much at all. Each track that I jammed had its own element to it. When I moved away from the last track that I‘d jammed, I’d use a different module, drum machine or sample, so each track had its own flavour, whether that’s electro, hard techno, house, deep house or just electronica. 

“The ebb and flow of the music was purely based on where I was going next. One track would be two minutes long and the next might be seven. I didn’t take any elements from one track and add it to another – that wouldn’t work because of the variation in key changes. Within each jam, there were obviously elements that might not have worked as well, but I’d either fix them or leave them as they were.”

Were you surprised at how gritty the record turned out?

“It did kind of surprise me in a way. If you listen to my F.A.C.T. albums, there are a lot of beautifully crafted trance records on there, like Cygnus X’s The Orange Theme, which is one of the most emotional records I’ve ever stood behind. I love that emotion and musicality because it’s not just attached to hard beats and the industrial sound.” 

There’s 303 all over the record and that sound’s probably not as prevalent in dance music as it used to be. Do you feel it’s coming back into fashion?

“You’re right, but it’s one of those machines that’s always been associated with hard techno. I put it to the forefront because of my early days of acid house when you couldn’t play an acid record without it. We probably moved away from it because modern DJs never went to raves and haven’t heard the sound. Now when they hear it, they’re buzzing and sales of TB-303s are going through the roof. 

“It doesn’t have to be a predominant sound, but it’s great as an embodiment of a low-end sound that can be put in-between basslines and percussion. For me, it harks back to the old-school days; it’s what got you off your feet. I’ve got the obligatory TR-8 drum machine, a TB-3 and it’s all running through MIDI, which is lovely. There’s no delay at all, it’s all running smack on time.”

How do you manipulate the 303?

“I manipulate the sound by putting patterns through a Moogerfooger then moving the frequencies around to make the 303 sound even bigger. By bolstering the sound and giving it a punk edge, I like to think that I’ve created a go-to Carl Cox 303 sound on two or three tracks on the album.”

You’ve also switched to Ableton as your main DAW…

“I only use Ableton Live. I’ve used Logic in the past, but found that I became quite rigid using that and the amount of parameters you have to go through becomes overbearing. Some people are geniuses on Logic, but I don’t have time for all that. Ableton wasn’t that great at the beginning from a sound processing point of view, so I’d just import all the files into Pro Tools, but I found that Pro Tools was going a bit too corporate so I switched back to Ableton and just got better and better at using it.”

Obviously, the process behind the making of this album was unintentional. Does knowing that your live shows are going to be committed to a recording suddenly introduce an element of pressure?

“I’ve got to think punk about all of this. They went in with an ‘I don’t give a shit, fuck you, bollocks’ kind of attitude. None of it was in key, they didn’t give a shit and didn’t even want to do it, but people loved it and they sold a million albums. How does that work [laughs]? 

“For many years my music’s been accommodated: ‘Oh, that’s nice Carl, it’s a lovely track – I’m sure it’ll do well for you’, but with this album I really didn’t care. The rave scene was built on that energy – the whole jungle movement and breakbeat, The Prodigy’s Smack My Bitch Up wasn’t radio but boom, bang, and it’s a No 1 global tune. We need some of that to come back and it’s based on people’s attitude to making music. 

“My music’s never really sat well with others. Even in the rave days I took it up to gabba, which is 180bpm. It wasn’t that I was angry or anything, but it was going somewhere until it wasn’t anymore. But my attitude was always punk – if I’m playing house, it’s the edge of house music, and the same with techno.”

There is a second version of the album on the way…

“The original album is literally Carl Cox’s Electronic Generations with 17 tracks and no guests, but I’m going to let them put out a reimagined version of those original tracks that allows certain artists to do something conceptual with the music. Fatboy Slim was the first and there are other tracks featuring Franky Wah, Nicole Moudaber, Juan Atkins, and Wilkinson. We’re nearly there with that, but it won’t come out until the original album’s been released.” 

You have two studios, in Brighton and Australia?

“I built a fully-fledged professional recording studio in my old house in Horsham, which allowed me to do everything including mastering, but I never used it as much as I would have liked and felt uncomfortable recording at other people’s studios because it’s too stressful working against the clock. Eventually, I built a professional studio in Melbourne and when I walk in there now it feels like the best recording studio on the planet. Christopher Coe’s my right-hand man, an artist in his own right and a partner in my ASW label too.”

What speaker system are you using?

“As far as I’m concerned, my studio has the best speaker system in the world. I’m using Augspurgers speakers, which have incredible power and energy, and ADAM Audio S3X-H monitors that give a rich, low-end feel to the sound. What you can’t see is the Funktion-One sound system. 

“We have these fucking great big mid-height TM monitors and on the floor is a big 24” sub bass cabinet. I’ll take my remote monitoring system, go to the back of the room and switch between the ADAMs and the Augspurgers, but when I want real world I’ll go to the Funktion-Ones, which sound unbelievable. It’s overkill, but if we hear any problems, I’ll rebalance the mix and boom - we’ve got it in the pocket!”

You sound totally enthused now…

“I’ve found myself in a very productive and creative place. For me, it’s necessary to go out there and show the people why I do what I do and if I didn’t love it we wouldn’t be having this conversation. This is my answer to entertaining the troops and the people who love electronic dance music. I’m excited to get back out there to my happy place – here’s a kick drum, we’re going to go somewhere from here and there’s no holding back! 

“My DJ career is one great story but I think people know who I am as a DJ now and what I can do to any dancefloor. The live shows are unknown territory for me, but they’re also the tip of the iceberg because there’s a lot more to come. I could rest on my laurels as a DJ, but I still want to work for it and for people to understand that there’s no point companies making these machines and nobody using them. We’ve got plenty of DJs now; what we don’t have is a lot of electronic live artists that want to go out and perform, so hopefully I can be part of that new movement.” 

Carl Cox's choice gear...

CCX Bus Compressor

“Made by the genius Arjan Hebly, it’s the hardest working piece of kit I own.”

Manley Massive Passive EQ

“A classic unit with such characterful EQ and power. It was this or two Pultecs...” 

Zähl EQ 1

“Used on everything. For a master buss chain it gives us more air and better bass extension and clarity across the mix.”

Moog Mother-32

“Ah, the joy of this synth. Moog was so kind to give me this as a gift.”

Roland TR-8

“I use it all the time for my live shows.”

Make Noise Shared System

“I’ve had many sleepless nights trying to figure out the magic behind these amazing, weird boxes.”

SOMA Pulsar-23

“Joseph Capriati gave it to me for my birthday. I’ve never seen or heard a drum machine like it.”

Erica Synths LXR-02

“Proper techno comes out of this box as soon as you switch it on.”

Pioneer V10 Mixer

“My go-to mixer now; I can record the stems of my live show straight into Ableton.”

DOCtron IMC

“Master chain unit that I use on the final output of my live kit. An EQ, compressor and saturation box. It lifts everything.”

Electronic Generations is out 16 September.

When it comes to DJ set-ups, a DJ mixer is pretty fundamental, and choosing the best beginner DJ mixer is an important decision for aspiring DJs.

Starting with the basics, a mixer is a device that allows the DJ to ‘mix’ two or more sources of music together into a single output. It enables DJs to audition other songs in their headphones independently from what’s being played over the master output, to find the correct starting or ‘cue’ point on the next track and to blend tracks together.

DJ mixers come in many shapes and sizes: from small two-channel home machines to professional club mixers with multiple inputs, comprehensive FX sections and a set of performance pads. Laptop DJs meanwhile, might use the virtual mixer built into their DJ software, and many all-in-one DJ controllers have a mixer section built in. But from the most sophisticated to the most basic, they all perform the same function.

My focus for this round-up is standalone hardware units, all of which – with one exception – don’t require a laptop to function, and which provide inputs to connect CDJs, vinyl turntables or any music player you choose.

If you'd like to know what my top pick is, then here it is: The Pioneer DJ DJM-250MK2 - a mixer that provides a bunch of flexibility, onboard filters and more.

I've also offered buying advice and answered common questions to give you further information on what to look for in a DJ mixer and on how to work out which machine will be best for your needs.

Our top picks

Best overall

Pioneer’s dominance over DJ mixers isn’t quite as total as its ubiquity in the CDJ realm, but the Japanese brand’s DJM range is still a popular choice among pro and amateur DJs alike. The 250 is the entry point into that range.

This two-channel mixer is relatively bare-bones compared to higher-end DJMs, but still has some neat tricks up its sleeve that put it above many other entry level devices. One such feature is the built-in audio interface, meaning you can hook this mixer up to physical players such as CDJs or turntables, a DJ laptop-based set-up, or some combination of the two.

In fact, the DJM-250Mk2 is even compatible with digital vinyl systems (DVS) which allow users to control digital tracks within a laptop using special timecode vinyl records or CDs. A nice touch for a piece of entry-level gear. The onboard interface also makes it easy to record your DJ mixes into a computer.

While there’s no effect capabilities to speak of, both channels offer three-band EQs and a dedicated filter, which are flexible enough to achieve smooth, pro-sounding mixes. There’s a dedicated mic channel too. In all, this is a very well-rounded package for budding DJs.

Best analogue

Along with Pioneer’s DJM range, Xone DJ mixers from British brand Allen & Heath are some of the most popular tools among club DJs. The 23 is the cheapest and simplest in the range, but it’s still a quality mixer with some nice features for a device at this price point.

What I like about the 23 compared to some of the other two-channel analogue mixers in this round-up is its scope for expandability. Yes, there are only two mixer channels available here, but each comes with dual rear-panel inputs (one line/one phono) and a convenient front-panel switch, meaning you could, for example, attach both turntable and CDJ and switch between the two.

Similarly, while there’s no onboard effects, the Xone:23 includes an external effects loop, allowing you to add pedals or a multi-effect unit to introduce new mixing techniques.

It’s not the cheapest two-channel mixer in this line-up – and it lacks any digital compatibility – but this is a robust device with the scope to grow with you as your mixing skills evolve.

Best budget

While Numark also make some impressive mid- and pro-level DJ gear, they’ve long been a favourite at the entry-level end of the market.

The M2 is about as basic as DJ mixers get. There are two channels here, each switchable between line and phono inputs for CDJ or turntable connections.

Each channel has a fader, a separate gain knob, three band EQ and there’s a crossfader for blending/cutting between the two. There’s also a mic channel with its own EQ and gain and a headphone output with crossfader-controlled cueing.

The M2 has all you need to learn the basics of mixing or scratching, and makes a solid choice for a first set-up. Its main drawback is lack of expandability when you want to take things further. There are no effects or any way to incorporate external ones, plus no digital compatibility that might let you get more creative as your skills progress.

The EQs and gain controls lack the subtlety and responsiveness of higher-end mixers too, although on the whole build quality is rugged and plenty durable.

Best rotary

Rotary mixers have something of a cult following among a certain subset of DJs. This is a style of mixer that trades the common faders found on most mixers for round knobs, or rotaries. New York DJ icon Larry Levan was a notable user of classic rotaries, and although it could be argued that they are a relic of a bygone age, a significant number of club DJs still love them.

Rotaries are also commonly associated with high-end, audiophile gear that comes at a hefty price. The TRM-202, from Omnitronic, is notable for being an undeniably classy-looking rotary mixer at an affordable price point.

There’s little in the way of bells and whistles here – for the most part the TRM-202 is a simple 2-channel mixer. The key feature is the chunky, tactile three-knob isolator EQ that sits along the top of the unit. This is joined by high and low EQs for each channel, which combine to offer plenty of sound shaping.

Rotary mixers aren’t for everyone – their design suits long and slow blends best for house and techno – but for the price, the build and sound quality is impressive here.

Best club mixer

Much like the M2 above, Numark’s M6 USB is a simple, no-frills beginner DJ mixer offering the tools you need to get going at a bargain price. However, whereas the M2 has just a pair of inputs with little expandability, the M6 is more flexible right out of the box.

The main selling point here, compared to the majority of other mixers at this price, is the inclusion of four fully-fledged mixer channels, each with its own fader and three-band EQ. That’s on top of an independent mic channel too.

As the name suggests, there’s some USB compatibility here too. The M6 features a built-in audio interface, meaning it can stream audio to or from a computer.

However, don’t expect full multi-track streaming from Serato or Traktor – this is a single channel affair, meaning you can stream audio to just one hardware mixer channel (fixed to channel 3) or send the master into your computer for recording.

Best for laptops

Native Instruments' Mk 2 version of its excellent Z1 is a little different to the majority of mixers in this round-up, in that it offers no physical inputs. Instead, this device is designed for controlling the virtual mixer inside the laptop version of the company’s mixing software Traktor, and so comes with a full version of Traktor Pro 4.

It's set up exactly like a standard 2-channel DJ mixer with a crossfade at the bottom and a pair of volume faders, FX and 3-band EQ for each channel.

Although the controls adjust settings within the software itself rather than within the mixer, the MusicRadar certainly found that when we tested the Z1 it felt exactly like using a standard mixer.

One of Traktor 4’s new features is stem separation, so the Z1’s feature set includes hands-on stem control, and NI has also added new OLED displays which provide useful real-time feedback so you don’t have to spend your gig staring at your laptop.

Best Bluetooth

For the most part, Reloop’s RMX-10 is another no-nonsense entry-level mixer. Specs are, for the most part, pretty standard: there are two mixer channels with three-band EQ and gain, a crossfader and separate mic channel with EQ.

Where the RMX-10 BT sets itself apart is with the inclusion of Bluetooth, meaning it’s possible to use a device such as a phone or tablet as a streaming input to either one of the channels.

Each also has both line and phono inputs on the back for CDJs or turntables.

As a result, the RMX-10 BT is a good choice for beginner or home users that want to blur the lines between DJing and a home listening set-up.

Being small and lightweight, it’s a handy choice for house parties too.

Best for scratching

For digital turntablists and those who want to hook a real-world set of vinyl desks up to a virtual mixing system, Serato DJ Pro remains an immensely popular choice. Unfortunately, the entry price for these sorts of set-up is fairly high (even before you’ve factored in the cost of a set of turntables).

Numark’s Scratch 2-Channel mixer is a solid budget-level battle mixer that comes with a full Serato DJ Pro licence and is equipped with the standard pair of channel faders, 3-band EQ and mic section. It also has a low pass/high pass filter, eight sample pads, six FX and a pair of chunky FX ‘hold/on’ rocker switches. The crossfader and channel volume section is roomy with no distractions or controls getting in the way of the all-important highly reliable InnoFADER crossfade.

Round the back you get a USB input but you also get a pair of RCA phono inputs which are switchable between line and phono for if you also want to connect CDJs or vinyl decks.

Higher-end units will likely come with more, larger, and more responsive sample pads, but the eight here, along with the FX toggle buttons and dedicated filter make for a good suite of functions for starter-turntablists.

FAQ

Inputs and outputs: what do you need?

The main thing to consider when selecting your beginner DJ mixer is what you’re going to connect it to; in other words, you’re going to need to consider inputs and outputs.

Most DJs start out using their mixer in traditional fashion, as a ‘bridge’ between a pair of CDJs or turntables and an amp. This set-up requires a two-channel mixer which will have (at least) two physical inputs. If you wanted to use more music sources – a pair of CDJs and a pair of turntables, or turntables and a drum machine for example – then you’d need a mixer with more than two channels.

Two-channel mixers are where many DJs start out. Some have two pairs of stereo RCA inputs, ‘phono’ and ‘line’. Phono inputs are for sources with lower signal levels – like vinyl turntables – that need to be amplified within the mixer. Line inputs are for devices with louder signals like CDJs or wired connections from a phone or laptop. Other mixers have a single pair of stereo RCA inputs which can be switched between phono or line.

Many DJ mixers also include a mic input so you can chat over your live streams or let your mates MC.

When it comes to outputs, the bare minimum would be a master output – which goes to your amplifier or powered monitors – and a separate output for your headphones so you can monitor tracks and clearly hear your mixing. Some mixers also provide additional dedicated audio outputs to send to a recording device (record), and to send to monitors to allow close listening when mixing in a club (booth).

If you plan to incorporate a laptop and digital mixing software such as Traktor, Serato, rekordbox or Virtual DJ alongside other sound sources like CDJs, your DJ mixer will need to be kitted out with some kind of digital connectivity. But if you plan on only using a digital set-up and not connecting any turntables or digital decks, then a stand-alone DJ controller will probably be a much better option than a DJ mixer.

When it comes to DJ mixer inputs and outputs, the golden rule is that the more a device has, the more flexibility you will have further down the line.

What is a ‘scratch’ mixer?

Scratch or battle mixers are DJ mixers aimed at turntablists and hip-hop DJs rather than club, house or techno DJs and are designed with the particular requirements of a scratch DJ in mind.

Turntablists use the cross-fader way more than club DJs, so a battle mixer will ideally prioritise room around it. Equally, the crossfaders on a battle mixer should be as high quality as possible to handle sustained usage.

Scratch mixers also sometimes forego club-friendly features such as additional mixer channels, filters or effects.

However, when you’re starting out, the vast majority of two-channel DJ mixers will be a perfectly acceptable entry point to learn essential DJ skills, whether you plan on creating long and gradual club mixes or learn flares, scribbles and beat juggling.

How we test

This guide is based on our experience of hands-on use with the mixers listed, as well as wider, long-term knowledge of using gear from the various DJ brands we’ve covered here.

The MusicRadar team's criteria for selecting the best beginner mixers is based on a multitude of factors. The devices here aren’t necessarily the outright ‘best’ mixers on the market – you’ll need to pay higher, pro-level prices for those. However, these are the mixers that have impressed us by balancing a certain amount of flexibility, reliable build quality and beginner-friendly accessibility, all within a price point that we don’t think is an unreasonable expenditure for those taking their first steps in the world of DJing.

We’ve aimed to bring you a cross section of different mixer styles that should suit a variety of use cases and set-ups. While the ultimate choice will come down to your personal needs and ambitions as a DJ, each mixer here should serve you well until you’re ready to step up to a more advanced set-up.

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

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A mixer is one of the most vital elements of any DJ setup. Mixers are, quite literally, the centre-piece of any DJ booth – the thing that allows tracks to be mixed and manipulated. Essentially, it’s the mixer that separates a DJ setup from a home music system. In this guide, we’re going to help you find the best DJ mixers at a variety of price points.

Since they’re so important, it’s worth really considering what you need and what you can get for your budget. Given the flexibility of modern DJ setups, mixers can come in a variety of forms. They might be virtual tools, built into the UI of your DJ software. Alternatively, you might use a ‘real’ mixer built-in as an element of a DJ controller – acting as both a software control surface and audio interface.

What we’re covering here, however, are DJ mixers in the traditional sense of the term – hardware devices with inputs, outputs and a variety of sound shaping controls, which are designed to allow users to combine audio coming from multiple ‘players’, such as turntables or CDJs. Below, we’ll be covering everything from beginner DJ equipment to high-end tools and the best mixers for battle DJs.

Head to the bottom of the page for more DJ mixer buying advice.

Best DJ mixers: Our top picks

Crowning a definitive ‘best DJ mixer’ is a tricky job. The three DJ mixers that top our list – from Allen & Heath, Pioneer DJ and Playdifferently – are all hard to fault. However, each is expensive and boasts features that the bulk of DJs out there simply won’t need. If you are in the market for a top-end, large format mixer though, Allen & Heath’s updated Xone:96 is truly classy, but also a touch more affordable than its rivals.

On the other hand, Pioneer DJ’s Nexus range verges on being ‘industry standard’, particularly in European clubs. You can’t go far wrong with the flagship DJM-900NXS2, but the DJM-250MK2 also offers an entry point into the range priced at an accessible point for beginners and home DJs.

For something a little different, Rane’s MP2015 rotary mixer is pure class. This design of DJ gear won’t suit everyone – it’s best suited to classic house and techno heads – but many pro DJs swear by rotaries, and for good reason.

Finally, if you’re on the lookout for a budget DJ mixer, Numark’s M6 USB is worth a look. It’s a little dated and is lacking on the effects front, but for a rugged, four-channel workhorse it remains a bit of a bargain.

Best DJ mixers: Product guide

Released in the early-noughties, A&H’s Xone:92 mixer is an all-time classic, beloved by many pro house and techno DJs. After years without an update, the company finally unveiled this follow-up in 2018. Fortunately, the design here refines the design of its predecessor, rather than drastically overhauling anything.

Like the original, this is built like a tank and offers plenty of flexibility, with great EQs and filters. Where the 96 updates the design is in the addition of an onboard audio interface, along with expanded send/return capabilities and extra control over the booth output.

It’s certainly not a cheap option, but this is a real top-of-the-line DJ mixer that is likely to hold up well to decades of regular use.

The past few years have given rise to a new wave of top-spec, large format mixers – DJ hubs with 6+ channels and enough functionality to please even the most creative user. Despite their dominance in much of the DJ market, Pioneer DJ were a little late to this party, releasing the DJM-V10 in response to the success of the Xone:96 and original Model 1 from Playdifferently.

Like those mixers, the V10 is a truly top-end device that puts emphasis on audio quality and setup flexibility. Feature highlights include Isolator EQs, per-channel compression and touchscreen effects.

There’s not a lot of negative points we can make about Pioneer’s top-end mixer, other than the fact that it’s very expensive – more so than the Xone:96, and roughly in line with the Model 1 – and you probably don’t need it. Unless you count yourself as a veteran DJ and have outgrown the functionality of other mixers in the past, it’s almost certain that a cheaper option on this best DJ mixer list will be able to fulfil your needs.

Pioneer has also released an LF version, which stands for ‘long fader’. The ditches the crossfader in favour of lengthened channel faders ideal for long, slow blends.

Minimal icon Richie Hawtin has had his fingers in a lot of music technology pies over the years. His Playdifferently DJ brand is one of his more recent ventures, founded alongside former Allen & heath designer Andy Rigby-Jones in 2014.

The company’s first product, the Model 1 mixer, was a top-end, all-singing, all-dancing 6-channel mixer aimed at creative and adventurous DJs. The Model 1 is incredibly well-spec’d and undeniably impressive, our pick, however, is its more recent, trimmed down counterpart, Model 1.4.

Design-wise, the 1.4 shares a lot of features with the flagship Model 1. This includes high-build quality, precision EQs, ‘contour’ filters and multiple send/return channels. The main difference is that the mixer has been cut down to 4-channels, which gives it a smaller, more tour-friendly form factor and brings it down to a – slightly – more affordable price point.

As the brand name suggests, these Playdifferently mixers do have some slightly unusual features that mean they won’t be suited to all types of DJ. The most noticeable is the lack of a crossfader. The channel strips here are ideal for blending loops or layering DJ tools in a hybrid live-DJ setup, but not so much designed for cutting between tracks in a traditional DJ sense. There’s no mic connectivity either, and the EQ system breaks away from the usual per-channel setup common to most mixers. As a result, these mixers are best suited to genres such as deep house, minimal or leftfield techno.

Rotary mixers aren’t for everyone, but many DJs swear by them. The use of rotaries rather than faders to blend tracks encourages a certain style of, generally slower, mixing. Because of this, tools like these tend to be beloved by deeper house and techno DJs, and certainly aren’t the obvious choice for scratching.

Rotary mixers also tend to be synonymous with high-quality audio, and Rane’s latest certainly delivers on that front. Isolators, adjustable EQs and filters give you a ton of control over the frequency of each track too, making this ideal for long, smooth mixes.

For all its retro-cool though, there are some modern touches here too, namely a built-in audio interface for use with a computer. The MP2015 is Serato Scratch compatible too.

This design of mixer might not be for everyone, but for those seeking quality and class, this is one of the best DJ mixers around.

Hands-on with the Rane MP2015 DJ mixer

Pioneer’s DJM series is probably the most common range of DJ gear you’ll see in clubs around the world. While plenty of DJs will espouse a preference for Allen & Heath or Rane mixers in the DJ booth, Pioneer’s ubiquity isn’t without reason; the brand has years of experience designing quality, pro-level DJ gear, as the flagship of the DJM range is testament to that.

The thing that impresses most about the 900NXS2 is its broad range of features. From channel EQs and filters to the dual USB ports and mic inputs, there’s not a lot of bases that aren’t covered here. There’s also an extensive range of effects, including reverbs, flangers, beat repeats and the company’s distinctive ‘Sound Color FX’, which offer a range of dynamic transition and build-up sounds. There’s a send/return too, for adding external processors via audio or USB connectors.

Rane’s two channel mixer does an excellent job of bridging the gap between traditional and digital DJ technology. It’s essentially a combined analogue mixer and controller for Serato DJ Pro, with multiple inputs for ‘real’ decks and CDJs paired with dual USB connections allowing seamless transfer for two Serato DJs.

This mixer is particularly aimed at scratch DJs, with magnetic faders and crossfaders, plus MPC-style performance pads which are ideal for sampling and cue point jumping within Serato. It also features a central touchscreen giving direct access to each Serato deck’s waveform. In all, it’s a very impressive mixer, if rather chunky and not particularly cheap.

Pioneer DJ are - arguably - the biggest name in professional DJ gear these days. Their CDJs are effectively standard issue for clubs around the world, and while their mixers don’t enjoy quite the same level of ubiquity, their higher-end offers are still a common sight at major clubs and festivals. For beginner DJs, one of the major bonuses of this two channel mixer is that it offers the same look and feel of those pro machines at a more affordable price.

This is more than an entry-level tool though. One major plus point is the fact that it’s rekordbox-compatible and DVS ready, making it a great option for those who want a small ‘two turntable and a mixer’ setup, but like the idea of toying with digital DJing.

A&H’s Xone range represents some of the best DJ mixers around and are the choice of many pro and amateur DJs alike. This simple two-channel model is great as a simple and affordable entry point into that range.

Sound quality is excellent here, and the quality EQs and sweepable central filter are great tools for sculpting tracks. The addition of send/return connections to add external effects is a nice touch at this price point too.

While this is a relatively simple mixer, independent booth outputs and a front panel mic input add enough flexibility for small setups, clubs and events. In all, a rugged, well-designed mixer that offers quality at a reasonable price point.

While Numark might not be as much of a leader in this realm as either Pioneer DJ or Allen & Heath, they’re still a brand with a long heritage in the DJ market. In terms of the amount of features you get for your money, you’d be hard pushed to find a better deal than the company’s M6 USB.

You get four full mixer channels here, each with three-band EQ, plus a mic input, all for a street price less than £200/$250. As the name implies too, there’s a rear panel USB port allowing connection to a computer in order to stream and record audio.

The M6 is a little dated - it’s been around since 2012 - and is lacking any form of effects or filter capabilities. But for a solid four-channel mixer at a low price this is still a great option.

As its name implies, NI’s DJ mixer is very much designed with their Traktor software in mind. Like the Rane Seventy Two above, this balances analogue inputs that can be connected to hardware players with MIDI controls here largely focussed on using the sampling and Remix Deck functions within Traktor.

The Z2 is Traktor Scratch ready, so can be used to turn existing turntables or CDJs into a digital DJing setup. For those wanting to expand things on the digital side too, it can be paired with NI’s X1 and F1 controllers for additional control.

The Z2 is nearly a decade old now, and probably due an update. That said though, it still gets the job done, and for anyone tempted by the idea of Traktor but also attached to a classic ‘two decks and a mixer’ setup, this is a great option and a good price point.

Read the Native Instruments Traktor Kontrol Z2 review

Another battle mixer that balances traditional analogue channels with software control. The Elite has a lot in common with both the Rane Seventy-Two and Pioneer’s DJM S9. Again, it’s designed to play nice with Serato DJ Pro, with a bank of backlit pads to make the most of the software’s sample, cue and roll tools. It ships with the full Serato DVS expansion and control vinyl too.

It lacks the distinctive effects of Pioneer’s equivalent or the touchscreens of the Seventy-Two, but is still a very well equipped mixer at a comparatively good price.

Best DJ mixers: Buying advice

How many ins and outs do you need? 

The most basic form of DJ mixer will offer up two input channels that can be blended using level controls and, in most cases, a crossfader. The resulting audio will then be fed to a main output, as well as an assignable ‘cue’ DJ headphone output, which allows users to hear a track without it being mixed into the main mix. Many mixers offer more than this though; four or more input channels are common on higher-end mixers, as are mic inputs, booth outputs and effects loops.

But how many ins and outs do you actually need when choosing the best DJ mixer for you? Broadly speaking, more I/O means more flexibility and more future proofing. If you’re a beginner DJ you may find that two channels are enough for now, but you may reach a point in the future where you’d like to add a third or fourth deck in order to get more creative. Those looking to play weddings and commercial functions will likely want a mic input. DJs likely to play larger clubs, on the other hand, will likely need a booth output.

However, extra ins and outs don’t come for free, and if you’re confident you won’t want to do more than mix records from two turntables or CDJs then a simple 2-channel mixer may well do the job. This is particularly the case for scratch DJs and turntablists, who tend to prefer the ‘battle mixer’ format. These tend to stick to two channels but pile on additional performance features and puts extra emphasis on quality faders and crossfaders.

What effects do you need? 

The majority of DJ mixers have at least some form of channel EQ and, in many cases, a low/high-pass filter. Higher-end mixers generally offer additional effects too, such as rhythmic delays or gates or things like phasers, reverbs or even one-shot FX. While none of these are strictly necessary to DJ with, the more tools you have at your disposal the more creative you can be. For additional customisation, an external effect loop lets DJs add pedals or desktop effects into their setup.

Consider digital compatibility 

Despite electronic music being, in many ways, at the forefront of technological development, DJs tend to be a little set in their ways. As such, many tend to shun the whole realm of ‘digital’ DJing in favour of a traditional ‘two decks and a mixer’ setup.

There’s no ignoring the fact that the march of progress is heading towards the digital realm though, so having some kind of compatibility isn’t a bad idea. In the mixer market, digital compatibility ranges from USB ports allowing streaming of audio to/from a computer to full DJ controllers integration with DJ applications such as Serato, Traktor and rekordbox.

Many mixers are ‘DVS-ready’ too, meaning they’re set up to use one of the major digital vinyl systems integrated into the above software tools. These allow users to control DJ software decks using ‘real’ hardware, using a system of timecode vinyl or CDs. This can be a great bridge for those that want a classic hands-on feel but also the convenience of digital DJing.

How we test DJ mixers

As DJ setups have become more diverse and complex in recent years, the varied needs of DJs have diversified hugely too, and when we test a new piece of DJ gear we try to consider as many different users as possible. There are a few core characteristics that are a must for a DJ mixer though, such as decent sound quality, durable build and enough flexibility to suit the target audience.

There are other factors that make a DJ mixer worth recommending besides these. One is cost – some mixers on this list might not be the very top of their range, but represent a winning balance of price, functionality and quality. For DJs with an eye on playing professionally, there’s the question of accessibility and expandability too. It’s all well and good getting used to playing on a rare boutique mixer at home, but if you’re touring or playing regular gigs, having familiarity with brands like Allen & Heath or Pioneer DJ will serve you well.

Ultimately the best way to test any DJ gear is to get hands on and mix with it. Our team of reviewers have countless hours of experience using gear from the brands featured here – and others besides – both in home and club contexts, and it’s this that we base our recommendations on.

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

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Roland GO:MIXER Pro X: What is it?

The premise behind Roland’s GO:MIXER series is simple: to give your smartphone as much audio I/O for every musical eventuality with video creation very much at its heart.

The latest version in the series, the Pro X, retains the same form factor as the two previous generations – clearly, Roland believes this is a winner – but adds some much-needed tweaks to compatibility.

For the uninitiated, the Roland GO:MIXER Pro X features 11 audio input channels (two more than the Pro) and three output channels (one more than the Pro). This is configured through two (L/mono, R) 1/4 inch jack inputs, two 3.5mm stereo line inputs, 1/4 inch Guitar/Bass input, a TRRS smartphone In/Out (stereo, CTIA) and a combo XLR/1/4 jack input. There’s also a headphone or headset jack (stereo, CTIA) and the obligatory micro USB socket to round off the I/O.

The unit can be powered by three AAA batteries, or straight from a host device, such as your smartphone or tablet and Roland gains extra points for supplying the appropriate cables, however, batteries are not included.

Five knobs adorn the top of the unit for control over the guitar/bass input, line inputs, mic input, headset input and an overall output level.

Roland GO:MIXER Pro X: Performance and verdict

As we’ve already mentioned, the three extra ins and outs are an improvement on the Pro, with the inclusion of the TRRS port, meaning that you can use a headphone mic or headset and the Smartphone I/O opens up use on any device with a TRRS connection. There’s also the much needed guitar/bass pad to help tame any high levels from active pickups etc. Further switching on the unit includes phantom power, on/off and the Loop Back function.

Switching off the Loop Back function is ideal when you just want to monitor a backing track whilst recording, so if you’re tracking vocals you will just capture the vocals. Of course, the alternative is to utilise the Loop Back function to record everything in a live scenario, including any arrangements or backing tracks from your smartphone.

With the announcement of the Pro X we had hoped that multi-channel audio support might have been included, but alas it has not been the case so all the channels are mixed into stereo. It’s by no means a real issue as the Pro X still performs admirably at the job of mixing multiple sources in multiple scenarios. Maybe it should’ve been referred to as the mk2?

The form factor hasn’t changed since the original, which is no bad thing really. But, if you’re using the smartphone/tablet cradle for shooting video and have everything plugged into the unit, it’s worth noting that it’s very easy to end up dragging it around by heavy cabling. A sturdier chassis here would be far more advantageous. You can forget shooting in portrait for TikTok, too, unless you have your own accessories to do so. 

You can use the Pro X with any camera or audio app like GarageBand, but Roland obviously pushes its own, especially the 4XCamera app, an ideal setup for content creators wanting to capture those synth jams for YouTube from multiple angles.

The GO:MIXER Pro X is one of the most feature-rich smartphone mixer/audio interfaces out there for video creators. The new X version vastly improves on its predecessor with what may seem like minor tweaks, but essential nonetheless.

MusicRadar verdict: One of the best value smartphone audio mixers has just got that bit smarter, leaving some of the previous models redundant.

Roland GO:MIXER Pro X: Hands-on demos

Roland Channel

Sonicstate

Digital DJ Tips

Liam Killen

Roland GO:MIXER Pro X: Specifications

• KEY FEATURES Portable audio mixer and interface for smartphones and tablets of all types with multiple I/O connectivity for all recording situations
• CONTACT: Roland

Pioneer DJ has unveiled the DJM-S11, a new battle mixer that succeeds the highly-rated DJM-S9. This 2-channel, 4-deck device brings new features for DJs who want more freedom when they’re performing with Serato DJ Pro or rekordbox.

Sitting at the heart of the DJM-S11 is a 4.3-inch touchscreen. This is customisable and enables you to browse tracks, check on playback positions and waveforms and trigger Touch FX. There’s also Touch MIDI, enabling you to trigger functions in your DJ software.

The touchscreen also displays essential information regarding decks 3 and 4 - you can load tracks, adjust EQs, set loops, trigger Hot Cues and more. What’s more, in Serato DJ Pro, you can move tracks from deck 1 to 4 and deck 2 to 3 without a break in the music, freeing up the main decks to prepare to drop in the next track.

DJs can also switch on Dual Deck control to use one fader, knob, or control vinyl to manipulate the tracks loaded to decks 1 and 3 or 2 and 4, meaning that it’s possible to scratch two tracks at once, add effects, or adjust their volume simultaneously.

The DJM-S11 also boasts larger performance pads than its predecessor, and there’s a strengthened crossfader. There are new effects and improved sound quality, too.

The DJM-S11 also has a built-in USB hub and works with Serato DJ Pro and rekordbox immediately - no license keys required. Each control is also MIDI mappable.

You can purchase the DJM-S11 from today for £1,809, while a special edition version - which takes design cues from the classic DJM-909 mixer from 2004 - will be available soon for £1,899.

Find out more on the Pioneer DJ website.

NAMM 2020: Rane has launched a new Serato-ready battle mixer named Seventy, which sees the brand building on the success of its excellent Seventy-Two – which we count as one of the best DJ mixers out there.

Like its sibling, the Seventy is a two channel mixer aimed at scratch DJs, combining internal effects and EQs with performance pads and rotaries designed for taking advantage of various features in Serato DJ Pro. Top of the list of feature updates are the new Mag Four faders, which Rane say are “50% lighter than their predecessors for tighter, faster cuts on the crossfader and upfaders.”

The other significant change here comes from the adjusted layout, which loses the Seventy-Two’s touchscreens and rearranges the controls into a position that bears a striking resemblance to Pioneer DJ’s DJM-S9.

Other significant features include dual mic inputs, Rane’s Twelve connection hub and dual USB ports for smooth handovers.

The Seventy is due for release Q2 2020 prices at $1500. Head to the Rane site for more.

NAMM 2020: Pioneer DJ’s new six-channel DJM-V10 mixer is something of a left turn of the brand, seeing it step away from the established design of it NXS range in favour of something that appears to be taking aim at Allen & Heath’s popular Xone:96.

As with the 96 - and also the Richie Hawtin-designed Model 1 - the DJM-V10 features an eye-watering amount of connectivity designed for maximum flexibility in a club environment. Alongside the six analogue mixer channels are three send/return channels, plus a flexible array of master, booth, headphone and other I/O options. The mixer is also DVS-ready for rekordbox, Serato and Traktor, and is equipped with two USB ports for seamless digital changeovers.

Most interesting, however, are the new EQs and filters, which deviate from Pioneer DJ’s usual designs with the inclusion of a newly-developer four-band EQ, plus channel compressors and low/high-pass filters. There’s a new three-band master isolator too.

The DJM-V10 doesn’t entirely do away with Pioneer DJ’s existing designs though, as the brand’s established Beat FX are included here, along with a new Shimmer effect.

Pioneer DJ is also emphasising the sound quality of this new mixer too, which boasts 64-bit mixing and dithering processing, 32-bit high-quality A/D and D/A converters and a low-jitter clock circuit. The company claim this can achieve “a full low-end, vibrant mids, and precise highs”. Check it out in the video above to see for yourself.

It’s certainly an impressive looking package, and we look forward to seeing how it stacks up against its most obvious rivals in use. The DJM-V10 is set to arrive in Feb price at €3,299/£2799. Head to the Pioneer DJ site for more.

Allen & Heath has announced its newest flagship mixer, the Xone:96, which is setting its sights on “artists who push the frontiers of music production and performance”.

The new model improves on the Xone:92 with enhanced digital connectivity, whilst retaining the analogue soul of its predecessor.

It’s seem nothing has been held back as Senior Product Manager, Allen & Heath’s David Morbey, explains:

“Xone:96 has it all. The huge, detailed, space-shaking Xone analogue sound, a refined, precision 4-band EQ with Xone:VCF filters and Crunch harmonic distortion, plus a dual 32-bit USB soundcard (24 channels @ 96kHz) with Traktor Scratch certification straight out of the box.”

Users of the ‘92 will be at home with a familiar layout and the new model will seamlessly integrate with most live rigs, including the ability to connect laptops, turntables, pedals, synths and drum machines.

Onboard, the Xone:96 features two dedicated FX sends, four stereo input channels with 4-band EQ, two stereo inputs with all-new 3-band parametric EQ, two auxiliary stereo return channels and a separate master insert for outboard FX hardware. 

The unit also benefits from dual soundcards and a new, completely independant, second headphone cueing system, which will allow for smoother set transitions; especially back-to-back performances.

There is currently no word on price and availability, but we hope to have news on that soon. In the meantime, check out the Allen & Heath website. 

 Xone:96 features: 

•  Legendary Xone analogue design 
•  6+2 channel layout 
•  Dual 24- channel 32Bit/96kHz soundcards 
•  Traktor Scratch Certified 
•  Dual Xone VCF filters with Crunch distortion
•  Xone 4-Band EQ 
•  Two independent CUE systems 
•  innoFADER Crossfader 

Pioneer DJ has announced the next edition of the DJM-750 DJ mixer, the MK2, which inherits a whole bunch of ‘club-standard’ features from the NXS2 range.

The 4-channel mixer takes advantage of the build quality expected from the pro range of Pioneer DJ’s products, but also some key elements that are taken from their flagship club mixer.

First up is the Magvel crossfader which combines smooth control with long-term use - the contact-free magnetic system is designed to endure millions of performances, no less!

Secondly, the same effects from the NXS2 have been handed down: Sound Color FX with parameter control and selected Beat FX with FX Frequency. Powering all of this is, is a 64-bit digital signal processor, which uses dithering technology and conversion is taken care of with the 32-bit A/D D/A converters. 

You’re also able to connect outboard effects to combine with the DJM-750MK2’s internal effects via the Insert send/return ports and also utilise Inter-App audio on iOS via USB. So you can chain even more effects, or add in samplers, drum machines and synth apps to your setup.

The DJM-750MK2 will be available from early September with an SRP of €1,199 including VAT. In the box, you’ll also find licences for rekordbox dj and rekordbox dvs worth a combined value of €248. More information can be found on the Pioneer DJ website.

Key features of the DJM-750MK2

• Professional layout
• Smooth EQs and channel faders
• Magvel crossfader
• Independent send/return
• Four Sound Color FX
• Beat FX
• FX Frequency             
• Professional sound quality
• Includes rekordbox dj and rekordbox dvs licences (worth €248 combined)
• XLR terminal
• Two headphone outputs
• Signal GND terminal
• Gold-plated RCAs
• Independent Mic section

DJing accessories firm MasterSounds has teamed up with Union Audio to create a new two-channel analogue rotary DJ mixer called the Radius 2.

The Radius 2 promises a clean, open and dynamic sound on both Line and RIAA inputs, as well as great usability. It features VU meters, a responsive Master EQ/Isolator, a high-pass filter on each channel, and an AUX send/Return system for easy integration of external effects.

Union Audio is the company of none other than renowned engineer and ex-head designer at Allen & Heath, Andy Rigby-Jones. His more recent work includes launching the PLAYdifferently Model 1 DJ production mixer with Richie Hawtin.

Andy had this to say on the new product: "The heart of the Radius 2 is a carefully designed audio signal path, marrying classic analogue circuitry to the latest high performance components and design techniques, all of which contribute to the superb transparency of the mixer.

"The main focus was on accuracy of audio reproduction, with minimal distortion, low noise floor and high headroom, aided by only using components of fine quality".

MasterSounds' Ryan Shaw adds: "I deal with customers on a daily basis who are interested in audio upgrades, and central to the setup is usually a rotary mixer. Going back to the '70s and the original disco era, DJs like Larry Levan of the Paradise Garage were obsessed with sound; Larry's music choice was to play disco through a rotary mixer and a great sound system. Now people want to play their records as the original DJs did back in the '70s as there is something purer about mixing without using faders."

Each Radius 2 mixer will be hand built, tested and shipped by Andy himself, with prices starting at £1,200 (including VAT) for the standard version, and £1,350 (including VAT) for the premium version. Both will be available in black and silver colour options. More information can be found on the MasterSounds and Union Audio websites.

Pioneer DJ has announced a new two-channel mixer which takes a few design elements from the DJM-900NXS2. You'll be able to partner it up with the XDJ-700 multiplayers or PLX-1000 turntables.

The DJM-450 features a Magvel crossfader (inherited from the DJM-900NXS2), which Pioneer DJ says offers "an accurate response and assured feel during complicated scratch techniques."

Onboard effects including Sound Colour FX and Beat FX, which feature parameter controls, are also from the flagship mixer.

High quality audio is handled by a 64-bit digital signal processor which uses dithering technology, and the mixer also includes a built-in audio interface. This enables you to connect the DJM-450 to your PC/Mac with a single USB cable and use the bundled rekordbox dj and rekordbox dvs Plus Packs (worth a combined €248).

The mixer also includes an independent USB send/return option, so you can use the built-in effects and external effects from mobile apps at the same time.

The DJM-450 will be available from November at an SRP of €699 including VAT. For more information, check out the Pioneer DJ website.

Pioneer DJ DJM-450 key features

• Professional layout
• Smooth channel faders and EQs
• Isolator feature on EQs
• Professional Magvel crossfader
• USB Send/Receive
• Sound Colour FX
• Beat FX
• Send/return
• High-quality, powerful sound
• Includes rekordbox dj and rekordbox dvs licences
• Two headphone outs
• Independent Mic section
• Signal GND terminal

Richie Hawtin is inviting you to 'play differently' with a new DJ mixer that will be fully revealed tonight at a special show in Berlin.

The new analogue mixer was developed by Hawtin in conjunction with ex-Allen & Heath Xone designer Andy Rigby-Jones. Called the Model 1, and released under the PLAYdifferently banner, the 6-channel mixer "offers a new level of uncompromising quality and intuitive functionality combined with hand-crafted British design."

If you can't make it to the mixer's launch tonight at the Arena club in Berlin, don't worry, as you'll be able to watch it via Boilerroom.tv. The stream will go live from 8pm CET through to 1am and will include performances from PLAYdifferently ambassadors including Dubfire, Chris Liebing and Richie himself.

Model 1 is available to preorder now direct from the PLAYdifferently website for a solid £2500, plus a flat-rate £50 worldwide shipping fee (excluding taxes). The first batch of orders will ship after 30 June 2016.

Features include

• Six fully featured input channels
• Input pre-amplifier drive control
• Hybrid filter/swept bell EQ
• Dual cue system
• Dual mixer linking system
• Balanced Tascam DB25 connector system
• Balanced mix buss

Having only just teased us with a video hinting at a new high-end DJ mixer, Pioneer has announced the DJM-S9. This is a two-channel mixer for Serato DJ with a customisable crossfader.

As well as delivering plug-and-play integration with Serato DJ's four decks, it also boasts DVS support, onboard FX, 16 performance pads, two USB audio interfaces and a top-loaded input switcher.

The '909' mentioned in the teaser video was of course referencing the now discontinued Pioneer DJM-909 and not the Roland TR-909. We initially had crazy thoughts about what this mixer could be.

Instead it takes its cues from the customisable 909 with the inclusion of the Magvel Fader Pro crossfader, which features interchangeable bumpers, feeling adjustment, cut lag and fader curve.

The heritage doesn't end there: the DJM-S9 inherits its audio circuitry from Pioneer's flagship 4-channel digital mixer, the DJM-2000NXS.

Features include:

• Tough responsive Magvel Fader Pro crossfader
• Customisable fader bumpers, feeling adjust, cut lag and fader curve
• Eight colour-coded Performance Pads on each channel
• Plug-and-play with Serato DJ's four decks, plus DVS support
• Customisable banks give access to 15 on-board Beat FX and 55 Serato DJ FX powered by iZotope
• Wet/Dry filter FX on each channel
• Two USB sound cards and top-loaded input switcher
• Mic input with Echo FX
• Fully MIDI compatible

The DJM-S9 will be available from late October 2015, at an SRP of €1,799, including VAT.

A limited edition gold DJM-S9-N will also be available from November at an SRP of €1,899. This promises to be the perfect companion to the limited edition PLX-1000-N turntable that launches at the same time at an SRP of €899, including VAT.

NAMM 2015: Lots of new DJ gear has been unveiled at this year's NAMM Show in Anaheim, and one particularly noteworthy announcement is Rane's MP2015 Rotary DJ Mixer. In the flesh, the unit is the epitome of class; its luxurious build quality sets it apart from the cheaper plastic designs we're used to seeing.

Rotary mixers aren't for all DJs - those who favour quick cuts or transitions will probably prefer the traditional format - but it's ideal for more lengthy, precise mixing styles that suit the cooler spectrums of house and techno.

We took time to craft a few blends on the show floor, and were seriously impressed by the sleek EQs and filters (switchable between three different types), inviting you to grab its weighty pots and take control of your mixes with accuracy and cleanliness.

Although scratch DJs and effect addicts might look elsewhere, the MP2015 is perfect for buttery-smooth blends and lengthy transitions, so the more progressive DJs should definitely investigate this mixer further.

Find out more on the Rane website.

MUSIKMESSE 2014: Following the launch of the Xone:23 mixer at NAMM, Allen & Heath has unveiled the Xone:23C DJ mixer. This sister product offers the same features but also adds a 4 stereo channel internal audio interface, X:LINK fucntionality for connectivity with compatible Xone products, and a copy of the Mixvibes Cross LE software.

You can find out more in the video above and press release below. Xone:23C is set to ship in June priced at £419. Check out the Allen & Heath website for further details.

Allen & Heath Xone:23C press release

Following the launch of the Xone:23 earlier this year, Allen & Heath has announced the introduction of a sister product, the Xone:23C. Also a 2 channel mixer, the Xone:23C features the same pro features as the Xone:23, with the addition of a 4 stereo channel internal soundcard, X:LINK to connect compatible Xone products, and ships with a copy of Mixvibes Cross LE software.

The 96kHz 24bit 4 stereo channel USB soundcard enables replay and recording from any chosen DJ software, offering users all the benefits of digital DJing using the controls of a "real" mixer. The bundled Mixvibes Cross LE software also enables 2-deck DVS control, and plug 'n play connection of a Xone:K series controller, premapped ready for use.

The Xone:23C also features the renowned analogue Voltage Control Filter (VCF) system, offering Low-Pass and High-Pass filters, frequency sweep and 'mild to wild' resonance control.

The 2 stereo channels feature independent level controls for each of 4 inputs enabling up to four stereo sources to be simultaneously routed to the mix, as well as the dedicated send and return system for external FX. The cross fader can also be upgraded with the latest Innofader for enhanced scratch performance, available as an accessory from Allen & Heath.

The main mix output and mic input are on professional standard balanced XLR's, and there is a dedicated record output. The Xone:23C is equipped with comprehensive monitoring facilities, including a booth output with its own volume control, a cue mix control, and signal levels clearly displayed on the 9 segment peak hold meters.

Styled on the flagship Xone:DB4, the Xone:23C includes soft touch, backlit controls, light-piped meters and a distinctive new shaped steel faceplate.

"The Xone:23C offers the ability to interface with digital Djing whilst utilising conventional mixing in a compact, accessible format," comments Xone product specialist, Greg Ibbotson. "With the option to add our Xone controllers to the mixer setup via X:LINK, you not only save USB ports on your computer but have extended software control at your fingertips for expanding your DJ setup. Also, the Mixvibes Cross LE software brings access to DVS control in conjunction with the Xone:23C."

The 'Slip Roll' effect is found on Pioneer's DJM 900 and 2000 mixers and records short samples of a track.

Ben Bristow, head DJ tutor at Point Blank - the world's best music production and DJ school - brings you five essential DJ tips, tricks and cheats that could make the difference between a killer set and death on the decks.

To find out more about Point Blank courses, pleaseemail their course advisorsor call +44(0) 20 7729 4884 andcheck out the full brochure.

The multi-award winning Xone:DB4 is a truly ground-breaking mixer and by far the most advanced product that we have designed.

Every feature has been meticulously researched to offer DJs ultimate creativity. FX algorithms with tight spectral control are customised to perfectly fit the DJ environment. The flexible input matrix allows any audio source to be selected on any or all of the channels.

Different processing can be applied to the same track on separate channels and you can fade between them, or a phrase sampled in the looper of one channel can be added to the mix later.

For more information, visit the official Allen & Heath website, or link up with the company on Facebook or Twitter.

DJ EXPO 2013: The Xone:DB range exploits the potential of digital mixer technology to bring you maximum DJ creativity. Flexible and versatile mixer controls with an intuitive layout give the DJ full control over the mix.

The DB2 boasts twin chainable FX engines, four stereo channels, full Input matrix, and unique Trimodal EQ system. With its built in USB soundcard, MIDI control, Xone Filters and X:LINK connectivity, the Xone:DB2 unleashes the DJ's creativity. The Xone:DB2 captures the essence of DB4 in a stylish, accessible, affordable format and blurs the boundaries between DJing, production and performance for the next generation.

For more information, visit the official Allen & Heath website, or link up with the company on Facebook or Twitter.

DJ EXPO 2013: The new DJM-750 four-channel digital mixer takes FX manipulation and software synergy to new levels, thanks to the new Boost Colour FX and a built-in 24-bit/96 kHz USB sound card.

The DJM-750 combines the latest audio and FX technology in an attractively priced four-channel mixer. The new addition meets the demands of today's DJs, with PC/Mac compatibility right out of the box.

Loaded with features to inspire creativity, the new Boost Colour FX adds a second effect to the Sound Colour FX in play, and lets DJs control the parameters of both FX with just one knob. The mixer boasts 13 Beat FX - including the new Vinyl Brake - with a dedicated Level/Depth knob.

Unleash your creativity with the twist of a knob.

Pioneer has unveiled detail of its latest DJ mixer, the DJM-2000nexus, a successor to the company's highly-rated DJM-2000.

The 2000nexus is described by Pioneer as a performance mixer and adds a host of features designed to allow DJs to chop up and rearrange tracks and trigger samples on the fly. These features focus around the unit's new Pro DJ Link function, allowing for advanced synchronisation between the mixer and other units, such as Pioneer's recent CDJ-2000nexus players and laptops running rekordbox.

Like its predecessor, the DJM-2000nexus features a central touchscreen, which now takes charge of controlling the device's Beat Slice function.

For more info check out the intro video and official press release below. The DJM-2000nexus is expected to start shipping later this month at an RRP of 2,299€.

Pioneer DJM-2000nexus official press release:

Product Concept

There has been increased diversification in DJ playing styles within the DJ/club scene in recent years, where in addition to simply mixing tracks, DJs arrange tunes on the fly by modifying the sound with the use of effectors and using multiple playersin real-time. In response to this growing trend, Pioneer has revamped the revered high-end DJM-2000 model, which has become a permanent fixture at clubs for its diverse functionality that provides DJs with superior usability and diverse performance. The updated DJM-2000nexus performance DJ mixer for professional DJs/clubs allows new tracks to be arranged using a touch panel.

The new model inherits the same layout and functions of the DJM-2000 and comes with the new "BEAT SLICE" function that allows tracks to be sliced and arranged in real-time, and the "SYNC MASTER" function that allows full control of track beats being played from connected audio players. These functions improve "PRO DJ LINK" used with multiple Pioneer players such as the CDJ-2000nexus (released at the end of September) to allow a wider variety of tracks to be arranged more accurately. Channel fader durability and sound quality have also been improved in response to requirements of mixers that are now permanently used at clubs.

Main Features

New "PRO DJ LINK" expanding scale of DJ performances

PRO DJ LINK, connecting up multiple Pioneer player, rekordbox laptops and the DJM-2000nexus has new functions expanding the scale of DJ performances.

"BEAT SLICE" function to create new track slices using the touch panel. Track slices input into the mixer are sampled and arranged with new beats to create new slices in an instant. Connecting multiple Pioneer playersallow tracks to be arranged accurately without affecting the beat. Sampled slices are cut automatically to the timing of the beat, allowing new beats to be arranged by changing audio samples to any order.

"SYNC MASTER", collectively controlling beat of multiple players.

Beats (tempo and beat position) of tracks playing on multiple playersconnected to the mixer via LINK can be automatically synchronized with the master clock of the mixer. The playback tempo can also be adjusted using the mixer touch panel. Player beats can be controlled in full from the mixer, which means numerous tracks can be arranged with ease without having to synchronize the beats of each player.

High-quality sound design to create the ideal club sound

The new mixer delivers even better sound quality while inheriting the same audio design as the high-end DJM-2000 model. The audio circuit clock comes with a low-jitter crystal oscillator, and noise reduction in the audio power source results in faithful reproduction of sound. The use of high-quality audio parts in the booth monitor output and SEND/RETURN improve clarity even further.

Newly developed peak limiter that allows playback while limiting track distortion, even at high audio volumes

The mixer comes with a new peak limiter that allows playback of master output tracks while limiting distortion, even at maximum output sound levels. This prevents delays in the output audio, while limiting track distortion naturally without affecting the powerful rhythms of tracks.

High-durability channel fader used for non-stop smooth operations

A high-performance channel fader has been used to improve durability. This ensures smooth operations even in the demanding surroundings of a club.

Advanced design that matches the professional CDJ-2000nexus model

Chrome-plating has been applied to knobs used for adjusting effect frequencies, and a white LED has been used for the beat button used to control beat effects. The look matches that of the CDJ-2000nexus system when they are placed side-by-side, while designed with an advanced appearance.

Other features

• LAN terminals for connecting up to 4 multiple playersand up to 2 PCs at the same time.
• Built-in USB audio interface that can assign audio systems of up to 4 systems to each channel from a single PC.
• Switchable 3 band EQ and 3 band ISOLATER on each channel (control from +6 dB to -26 dB with EQ, and +6 dB to -∞ dB with ISOLATER).
• Digital input terminals on each channel that allow audio signals to be input without affecting sound quality.
• "Talk Over" that lowers the volume of tracks automatically when there is a signal input via the microphone.
• "Peak Level Meter" on all channels that allow the input level input to each channel to be checked in an instant.
• "Cross Fader Assign" to assign cross faders flexibly to each channel input.
• "Fader Curve Adjust" function that allows the cross fader and channel fader curve to be changed.
• Environmentally-friendly "Auto Standby Function" that switches the power to standby mode when there is no operation or input for a certain period of time.

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Pioneer DJ equipment didn't build its reputation on CDJs alone - its well-known mixers, such as the DJM-800, are also a staple in many DJ booths. So how does this new model improve on an already successful formula, and is it worth the upgrade?

First impressions when removing the DJM-850 from its box are that it shares the same solid build quality and styling that previous Pioneer mixers have become known for. The unit weighs in at a reassuring 7.7kg, the case is metal and all of the buttons, knobs and faders feel firm and reliable. Controls are well spaced and the panel is clearly labelled, which is important for use in a dark club environment.

The layout will be familiar to owners of the DJM-800. In fact, the dimensions of the new unit are the same as the old one, which means that DJM-800 cases, rackmount kits and covers can also be used if you choose to upgrade. The three-band EQ can now be switched between normal mode (+6dB/-26dB) or the new full kill Isolator mode - very welcome for effective band kills. A significant new addition is the USB socket (sensibly located on the top of the mixer for easy access), which is used for the built-in audio interface and USB MIDI.

Sound quality is the same as its bigger brothers, the DJM-900 Nexus and DJM-2000. Pioneer have added a high quality 32-bit D/A convertor, kept audio paths as short as possible, and separated the digital and analogue circuitry. This results in a clear and punchy sound. One thing that's missing is digital inputs, but the analogue-to-digital convertors sound good, so perhaps it's no great loss. One of the main attractions of Pioneer mixers are the effects. These have been upgraded from the previous generation and come in two sections: instant gratification Colour effects, and time-based Beat effects.

Colour effects are applied independently to each mixer channel and include Noise (filtered white noise), Gate (a combination of gating and filtering), Crush (a bitcrusher/ downsampler) and Filter (high-pass or low-pass filtering). Only one Colour effect can be selected at a time, and as with previous Pioneer mixers, the Colour knob can be turned left for one variation of the effect and right for another - low-pass to the left and high-pass to the right being a classic example. These effects are well-chosen, quick to use, and have just the right kind of attitude for DJ use.

An exclusive new feature of the DJM-850 is the Beat button on each channel. This makes the volume of the sound control an aspect of the Colour effect. For example, the Noise effect pumps in sympathy with the beat, which sounds similar to sidechain compression. The Gate effect really comes alive when the Beat button is activated, with a short metallic delay being added to the sound.

Block rockin' beat effects

As with the 800, the main Beat effects section is where BPM synchronised effects are found. They work as post-fader send effects and can be assigned to a channel, one side of the crossfader, or the master output. The current tempo is either automatically detected, or set manually using a tap tempo button. There's a choice of 13 new and improved algorithms, plus an external send and return option.

Effects on offer are similar to those in other recent Pioneer mixers, with old favourites such as Echo, Reverb and Flanger making a return. Two new types inherited from changed. Finally, Up Echo is a brand new effect for the 850 that combines pitchshifting and delay. With these new algorithms you can use the effect level knob for extra control. For example, with the Up Echo it controls the feedback and pitchshifting, as well as the usual wet and dry balance. Combining the Colour and Beat effects is a great way to add some spice to a DJ mix.

One change that some users have complained about is how the updated Echo effect is implemented. On the old model it would only start sampling into the Echo when it was turned on, allowing a single word or phrase to be echoed cleanly. The new version is always sampling into the Echo, which means that audio from before the desired sound will also be included. A workaround for this is to switch to the more expensive DJM-900 and 2000 are Spiral, which is a tape delay, and Slip Roll, which repeats a section of audio that is re-sampled whenever the effect time is Echo effect just before applying it. Unfortunately, this requires an extra hand for many common uses.

Perfect mix?

So what's missing? More expensive models have extra effects controls, digital inputs and Rekordbox/Pro DJ Link integration, but none of these are essentials. Owners of older mixers will be tempted to upgrade by the USB sound card, updated effects, and improved sound quality. Traktor Scratch timecode support is also handy.

At £1,299 this isn't the cheapest mixer, but for bars and smaller clubs, or serious DJs, the features, styling and solid build quality is hard to beat.

We were treated to a pic of the new Traktor hardware yesterday, but it was difficult to tell just what NI had in mind for the new product. Now we can clearly see a hardware DJ mixer, with Traktor-ready control and (presumably) built-in timecode and an audio output.

It's certainly a niche that was yet to be filled by NI, but we've seen this type of hybrid mixer before from Rane it added an Ableton-style control section. We don't have any more info at the moment, but let us know your thoughts.

For more on Traktor check out the Native Instruments website

Slotting underneath the DJM-900, the new DJM-850 mixer seems designed to replace the DJM-700 mixer. It's compatible with Traktor Scratch 2 and adds a full USB audio interface as well as some tasty new effects.

With rock solid synchronisation of every element now more crucial to professional DJing than ever before, Pioneer has implemented a nifty new effect to its DJM-850. Sitting next to the well known color sound rotary above each channel fader is a beat button that, when pressed, can listen to the input channel. This means that sidechain style synchronisation can occur from the effects using the Beat analysis system built into the mixer.

Could this feature alone could have DJs sticking this on their tech rider rather than the meaty DJM-900 Nexus.

It's said to be available in March at £1300/€1500/$2000

FULL PRESS RELEASE BELOW

Pioneer Electronics (USA) Inc. Professional Sound and Visual Division continues to make advancements in its lineup of DJ products with the launch of its new DJM-850 performance DJ mixer that brings more functionality for the growing number of DJs that utilize today's popular DJ software. Inheriting many of the same technologies, reliability and operability of Pioneer's industry standard DJM-900nexus mixer, the DJM-850 also features a built-in high-performance USB sound card, various functions for laptop-connected DJ performances, and the industry's first1 BEAT COLOR FX function, which changes effects by linking the audio input of each channel.

"Pioneer has included innovative new features in the DJM-850 that expand DJs' creative capabilities when they're using their favorite DJ software. We see the growing use of DJ software as a great opportunity to bring professional level quality and features to this space," said David Arevalo, senior marketing manager, Professional Sound and Visual Division for Pioneer Electronics (USA) Inc.

Variety of Effects
The DJM-850 follows Pioneer's traditional mixer layout, featuring a variety of advanced sound effects that provide DJs with virtually limitless possibilities when mixing their music. Pioneer includes a new BEAT COLOR FX function, which changes effects by linking the audio input from each channel.

Sound Color FX - The Sound Color FX offers four types of effects (Filter, Crush, Noise and Gate) that can be linked to the input sound of each channel.
Beat Color FX - Users can quickly change between the new Beat Color FX and Sound Color FX to suit each tune for further remixing and sound capabilities. By activating the Beat Color FX, users are able to manipulate the Sound Color FX and Beat Effect simultaneously, resulting in more creative effects that complement the beat of the music.
Beat Effect - The Beat Effect function presents 13 different types of effects (Delay, Echo, Up Echo , Spiral, Reverb, Trans, Filter, Flanger, Phaser, Robot, Slip Roll, Roll, and Reverse Roll) that can be combined to produce up to 100 other original effects.

Sound Quality
The design of the DJM-850 combines broad functionality and high quality components to achieve great sound quality:

24bit/96kHz Built-in USB Sound Card - An integrated high performance USB sound card enables up to four inputs/outputs2simultaneously with no deterioration in sound quality.
The sound card supports three different sampling rates (96kHz/48kHz/44.1kHz) and the ASIO/Core Audio standards that can also be used for music recording and production.
The USB port on top of the mixer provides quick connections to use DJ software via laptop. The signal output path from the mixer can be easily modified using its setup utility tool3 via a computer.
Sound Quality - The use of high quality components such as a 32-bit digital-to-analog output converter and a 32-bit digital signal processor, separate analog and digital circuitry, and extremely short audio transmission paths results in clear and powerful audio output.

TRAKTOR SCRATCH 2 Certified4
The DJM-850 offers compatibility to the Scratch Control (DVS)with Native Instrument's TRAKTOR SCRATCH PRO 2/DUO 2 software. Using the timecode disc bundled with the software and a PC, the DJM-850 is ready for scratch control (DVS) with a CDJ player or Vinyl turntable.

Additional Features
The DJM-850 is equipped with additional features that add to the versatility of the mixer:

MIDI Signal - Operation information of the mixer's knobs and buttons can be transmitted as a MIDI signal5 for a "Full Ensemble MIDI" function to control other connected devices.
Switching 3-Band EQ/Isolator - Each channel of the mixer is equipped with a switchable 3-band EQ (+6dB to -26dB) and 3-band isolator (+6dB to -∞dB)
High Performance Channel Faders - The slide mechanism supports the fader knobs with two metal shafts for both durability and smooth operation. Furthermore, the new mechanism's design minimizes the negative effects of moisture and dust particles on the mixer's performance.
P-LOCK Fader Cap - Keeps the fader channel and crossfader knobs (caps) locked, preventing them from physically slipping off during heavy use.
Scratch Control - Scratch control6 is possible by using the time code disc7 bundled with DJ software supporting DVS (Digital Vinyl System)8 from CDJ players and vinyl turntables.
Auto Standby - Automatically senses active operation and the presence of input signals, switching to standby mode when inputs are not detected for a long period.

The DJM-850 will be available in black or silver colors in March 2012

NAMM 2012 PRESS RELEASE: Just in time for the 2012 NAMM Show, BEHRINGER introduces three small format premium mixers that directly interface with the ever-popular iPad.

Drawing on the power of the most ubiquitous mobile digital device, the XENYX iX Series mixers are designed to handle live performance and provide state-of-the-art tools to create professional recordings. Users can also sync performances to video by utilizing the iPad's video out capability.

The new XENYX iX Series, which include the XENYX iX3242USB, iX2442USB and iX1642USB, feature a built-in iPad docking station designed to send signal to and from the iPad with a wide range of routing options.

The innovative feature set included in the new XENYX iX Series USB mixers makes it possible to record and mix on a professional level thanks to the built-in, stereo USB audio interface. Connect these mixers directly to a PC or Mac computer via a single USB cable to record any signal source connected to the mixer.

All iX mixers include the new dual-engine KLARK-TEKNIK FX processor with 32 editable, studio-grade presets such as reverb, chorus, flange, delay, pitch shifter and multi-effects. In addition to literally thousands of apps, the iX mixers use the iPad to control the new KLARK-TEKNIK FX Processor App, enhancing the mix by allowing the user deep control of EQ's, compressors and reverbs and a full spectrum analyzer.

The iX series mixers also feature high performance XENYX mic pre amps, which represent a major step in the evolution of audio technology. Comparable to far more expensive, stand-alone mic preamps, XENYX preamps offer a staggering 130 dB of dynamic range, with a bandwidth that extends from below 10 Hz to 200 kHz for transparent, crystal-clear performance.

XENYX mixers' 3-band channel EQ is based on the same circuitry used in British consoles that allows users to create signals with incredible warmth and detailed musical character. Additionally, 'one-knob' compression is available on all mono channels. Dial in the perfect amount of compression for instruments and vocals, creating powerful mixes with punch and clarity.

"The new XENYX iX mixers demonstrate the innovation that stems from our massive investment in Research and Development, says Mark Wilder, VP of Marketing Communications. "These are the first of many more ground-breaking products to be announced at NAMM 2012."

Information taken from official press release, for more visit Behringer.

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Objectophilia. You might have stumbled across the term on the internet by accident when searching for exclusive Flickr snaps of Richie Hawtin's live Plastikman setup. It's a term used to describe people that have emotional attachments to inanimate objects.

There was a recent case of a woman marrying the Eiffel Tower, for instance. You might have once scoffed at these nutters and their unrequited love for lifeless belongings. Scoff no more.

We wouldn't be at all surprised if you caught a DJ or two fleeing in the dead of night to Gretna Green, with the Allen & Heath Xone:DB4 tucked lovingly under their arm.

Feast on features

To be honest, this mixer is a little saucepot. After you pop it out of its tight-fitting carry case and bring it to life, your face lights up. Thanks in no small part to the beautifully-lit rotary faders and digital display menu.

Then, like a fat man at a buffet, you don't know where to start first on this feature-packed minx. Picture a Rane Sixty-Eight or a Pioneer DJM-600, but with no gag reflex.

She's light, so perfect for the DJ on the move, and sturdy as hell. The build quality is barely worth mentioning. As soon as you see the Xone logo, you know what you're getting.

DJs familiar with the layout of the Xone:92 will feel at home, and then get a twinge on when they fumble around the redesigned EQ section, and spot the new Quad FX Core DSP effects engine. This is the heart of the machine.

It's powerful and delivers stunning effects. Each of the four channels has its own FX bank and BPM detection system, automatically adjusting all time-related FX and loops to the BPM of your beats.

Something for everyone?

A quick fiddle about with these studio-quality tweakers and you're in heaven.

You could spend the night tickling the customisable delays, reverbs, modulators, resonators and damage functions, before exploring each one's patch library of different effect variations.

Also, the effects can actually be chained so each one has its own dedicated filter.

You've also got dedicated expression controls and a fat-knobbed rotary dial to freak out between wet and dry.

As the resonance knob rightly points out, it takes you on a journey from 'mild' to 'wild'. Those schooled on the Pioneer DJMs should be in their element.

Fans of the famous Allen & Heath filters will be pleased to know that the wonderful scope found on models like the Xone:92 is still up for plundering.

The DB4 also benefits from a built-in 24-bit/96kHz, multi-channel, fully patchable USB 2.0 soundcard and MIDI compatibility.

The soundcard means that this hybrid mixer will sit nicely in a club booth for most of the night if DJs with certain mixing software or DAW preferences are on the bill. Rocking Ableton Live or Traktor? No worries - stick in the USB cable and you're up and running.

With Traktor, all four decks are routed to all four channels on the mixer. With Ableton you can also route your audio to any of the four channels on the mixer. It's like the days of fiddling with phono cables are coming to an end.

Pioneer CDJ heads can also plug their decks into the DB4's digital inputs, while Serato or vinyl jocks get analogue inputs round the back. Bouncing between the two is easy, with a simple switch at the top of each channel.

If top-end MIDI-laden four-channel mixers teaming with effects, knobs and lights baffle you, then you're gonna need to sit down with the manual for quite a while with this one.

Quick mix turntablists might do themselves a mischief if they try to rock out on this with a DMC-style set and no dry run beforehand. With buttons activating channel FX sitting snuggly next to the crossfader, chances are you might just activate a cavernous echo by mistake as you're crabbing merrily away.

Plus, the crossfaders, although robust, high quality, dual railed and fitted with an integral dust shield, don't really feel battle-ready.

The adjustable cut might have three settings, taking you from blending to scratching, but it still takes a few mm to get sound, which is vital for twiddles and other scratches. Those types of DJs need a two-channel mixer with simple kills and a clean, uncluttered plate.

Those wanting to punch in samples or bounce around cue points are best off sticking with your Dicer. The DB4's target market is the club DJ with a few quid to spend.

Oh, and the sound quality on this thing... On a decent club system this mixer booms. Not since rocking out vinyl (remember that) will you have heard such a quality loudness and range in both dynamics and frequencies.

The next level

The grand curtain-dropping reveal for this next level mixer might have been slightly undermined by some internet leakage, but being in its presence just causes goosebumps. It really is all that and a bag of chips.

Top Dance bods like Pete Tong and Dubfire have been all over this like a cheap suit since they got their sweaty mits on it. Lord knows what they can do with it now.

The surface has just been scratched on the potential of the Xone:DB4. With so much functionality and this level of multi-layered sound architecture at your fingertips, it really (no, really) could be the one to change the game. No wonder it picked up a Nammie this year for best top-end mixer.

Hats off to Xone Design Manager Andy and the chaps at Allen & Heath. You've pulled it off. For once the marketing hype is bang on the money. It basically is "The Dog's Boll*cks".

Musikmesse 2011 Press Release: The DJM-T1 is the complete solution: a hybrid mixer, a controller and audio interface in one unit.

Included in the box is a copy of TRAKTOR SCRATCH DUO 2 software, along with the control CD and vinyl needed for DVS scratch control. All that's left is to connect your CDJs or turntables to the mixer and the software does the rest.

We designed the DJM-T1 to bring the included software's exciting new features to life straight out of the box - particularly the eagerly awaited Sample Decks and all the exciting possibilities that they bring.

Alongside the two scratch decks, DJs can open a pair of Sample Decks and load up to 4 loops or samples in each - for amazing loops and remixing on the fly. The DJM-T1 is geared up to put all the right controls at your fingertips to make this a reality in your performance.

DJs won't need to touch the computer as all browsing, loading and even cue, play and nudge features are available should the turntables go down.

There's a bank of dedicated controls for TRAKTOR's Advanced and Chained effects and the included software provides 6 stunning FX that are guaranteed to inspire. Scratch DJs will be glad to see essential crossfader adjustments such as lag, tension, curve and reverse functions.

The onboard soundcard and MIDI interface lets DJs connect to a computer with a single USB cable and there's a dedicated output channel to easily record those moments of dexterity and creative genius straight back into the mixer.

Inheriting the sound quality design of our industry-leading DJM-900 and DJM-2000, the DJM-T1 delivers a clear and powerful club sound every time. Plus, with enhanced channel fader durability, it's a performance-enhancing tool you can depend on time and time again.

Main Features

Layout perfectly mirrors TRAKTOR SCRATCH DUO 2

The DJM-T1 is not "just" a mixer; it boasts controller functions designed specifically for the included TRAKTOR SCRATCH DUO 2 software, so there is no need for an external controller.

DJs get instant access to the 2 new Sample Decks, to create their own loops from live tracks, or remix and edit on the fly. Each Sample Deck gives the option of four loops or samples, for endless possibility.

Software functions such as browse, fast forward, play and rewind are also operated straight from the mixer. FX, loops, hot cues and sampling controls on the unit mirror the TRAKTOR 2 interface for intuitive operability.

Scratch control using DJ player turntables

Fully TRAKTOR SCRATCH certified and equipped with a powerful USB soundcard, so DJs just need to use the included CONTROL CD or vinyl to start operating the software's scratch functions through their CDJs or turntables. Professional performance is further enhanced by the built in booth monitor feature.

FX

6 of TRAKTOR's most popular and impressive tempo-synched DJ effects (Reverb, Delay, Flanger, Filter, Beatmasher, Gater) and 1 filter per deck complete the sonic weaponry, giving DJs all the tools they need to stand out from the crowd. Plus the LFO CONTROL signal output changes at beat-by-beat intervals for precision control.

Internal USB soundcard let DJs easily record sets

The onboard USB soundcard eliminates the need for an external soundcard, so DJs can connect the mixer straight to a computer with a single USB cable. That means recording live or practice sets is a breeze, as the included audio interface enables output signal switching to suit the activity, whether that is DJing, recording or producing music.

High-quality design for clear, powerful sound

The DJM-T1 inherits all of the high sound quality design features expected from our industry leading DJM mixers. Analogue and digital circuitry are separated, while analogue inputs are converted to digital over the shortest distance possible to reduce unwanted noise.

The internal soundcard receives input from a PC as a digital signal, with no loss of sound quality. The 24-bit D/A converter ensures sound clarity for not only the master output, but the booth output too.

Enhanced channel fader operability and durability

Our new channel faders are smoother and more durable than ever before, thanks to 2 metal shafts supporting the fader knobs. The fader is positioned to the side, minimising damage from liquid or dust that can get inside.

The DJM-T1 crossfader has an exclusive Pioneer magnetic construction that provides extreme durability, and can be used more than 10 million times, while Pioneer P-LOCK Fader Caps are impossible to pull off in the heat of a mix. The operational load, fader curve1 and cut lag2 can also be adjusted to your preference.

Other features

• Microphone and AUX terminals located on front of unit for ease of connection during performance
• Multi-input selector for effortless switching between CD/PHONO/USB sources
• Rubber knobs on ISOLATOR/EFFECT/LOOP give increased control
• MIDI signal output for operation of external devices via the FADER/ISOLATOR
• Built-in 3-band isolator type equalizer gives level control ranging from +6dB to -∞dB for HI/MID/LOW ranges individually
• Automatically switches to standby if unit is not used, or there is no input, for a pre-set period of time

The mixer will be available to buy from mid-July, RRP 1,499 euros.

Information taken from official press release, for more visit Pioneer

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FRANKFURT MUSIKMESSE 2010 PRESS RELEASE: Numark, the world's leading manufacturer of DJ technology, announces M6 USB, its new four-channel USB DJ mixer. Numark will introduce M6 USB at the Musikmesse, in its stand, B45 in Hall 5.1. Held March 24 - 27, 2010 in Frankfurt am Main, Germany, Musikmesse is the world's largest fair for musical instruments, live music and the music business.

M6 USB enables virtually any DJ to step up to a four-channel mixer. This club-style design not only works with any standard audio sources, but it also has a USB computer connection. When connected to a DJ's Mac or PC, the plug-and-play connection enables DJs to mix in audio in from music-player software and record their set into virtually any audio recording application.

DJs will enjoy a complete range of performance essentials in M6 USB, including three-band EQ and LED metering per channel, a replaceable, assignable crossfader with slope control and balanced outputs. In addition, M6 USB features a dedicated XLR microphone channel and a secondary mic input on channel four.

"M6 USB gives DJs the flexibility of four channels and the power of USB," said Chris Roman, Product Manager, Numark. M6 USB will be available from musical instrument and DJ retailers in Q3 2010.

Information taken from official press release, for more visit Numark

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Not all DJ mixers are created equal and proof is here in the form of the rather luxurious Xone:4D.

Allen & Heath pioneered the hybrid DJ mixer concept with the Xone:3D. Since then, a horde of well-specified competitors has emerged to compete; so it's time for an update.

The 'hybrid' concept merges together audio, MIDI control and digital audio card technologies; enabling DJs to mix using any combination of decks and software, especially Ableton Live and NI Traktor.

Build

On the surface, the 4D looks like a 3D with the addition of a nice metallic-black paint job. The layout of controls is essentially the same, with a creamy four-channel analogue mixer in the centre flanked by a pair of MIDI control surfaces.

We've already heaped plenty of praise on the stellar qualities of the A&H analogue console, and this mixer continues the tradition in fine form.

There have been some minor changes to the MIDI control section, which aren't initially obvious. First up, there's more space around the dials, which were a bit cramped on the original 3D models.

Connections

Probably the most significant aspect of the upgrade is the all-new connection configurations. It still uses the USB 2.0 connection, but it now boasts a very flexible 10-in/10-out configuration.

These are arranged as stereo pairs, the first four of which are available at the touch of a button on the mixer's line selector, as well as analogue outs on the rear.

This is a big change from the 3D, which required the user to call up the software-based mixer on the computer to make any changes to the configuration.

The recording inputs are fed by the four stereo analogue inputs of the DJ mixer, which offer a choice of either RCA or phono connectors.

Alternatively, you can tap the signal from the FX sends, mic input and master output instead of the line inputs. The final pair (9+10) uses the digital in/out.

This flexible set-up makes it possible for users to bend the Xone:4D to their needs, rather than work around its architecture.

Sound

The sound quality is crisp, clear and rounded out by the analogue circuits of the mixer, with the warm three-band EQ and multi-band filter section adding to the appeal.

The driver performed well on the test MacBook and could easily sustain playback at the minimum of 64 samples, with each audio track routed to its own analogue output on the mixer and all playing simultaneously. Performance-wise, this is about as good as latency values get.

There was no sign of crackle or buffer glitches, just a tight response for audio triggering and premium sonic integrity - impressive!

Filters

In the world of DJ mixers, Allen & Heath is synonymous with juicy analogue filters. In the years since they were first introduced, A&H have tweaked their filters to perfection.

There are two individual VCF's onboard, and these are assignable to the X and Y channels of the cross-fader. Each one has a choice of low-pass, band-pass and high-pass modes, plus rotaries for cut-off and resonance.

This has been kept sensibly well below screaming level; firstly, to keep the music from disappearing altogether into a screaming sine wave, and secondly - to avoid killing clubbers' ears and the resulting lawsuits against DJs that tend to follow suit.

Deploying the VCF is simplicity itself, thanks to the 'one knob per job' design.

The nice use of illuminated buttons gives instant visual feedback in the dark so you always know what the filter is doing, no matter how dingy the venue you're performing at.

The LFO has been upgraded so that alongside the default triangle wave, it has a new step sequence mode for modulating the cutoff.

This mode requires a couple of push button-holding jiggery moves to engage, which can be seen via the three-segment LCD display.

Sequencer

The step sequencer is very much like an old-school eight-step analogue sequencer, and uses the eight sliders to set the levels for each step.

Handily, the sequencer also smoothes out the transition between each step so that it slides between the points, keeping your effects flowing while the tap tempo buttons sets the overall speed of the sequence.

Summary

The Xone's main competitors might have a plethora of built-in effects, but none of them have a real analogue signal path or filters.

The new refinements and multi-channel soundcard make it a more powerful beast than the 3D, especially for live recording/sampling/playback with Ableton or using the internal FX sends of Traktor to spice up a live mix.

Aside from the minor criticisms of the MIDI channel/template selection, The Xone:4D packs a massive amount of function into a luxurious form.

This is a pretty faultless piece of gear that feels like a total tool for next generation DJs who want it all now.

The EVO5 DJ mixer is Ecler's most advanced piece of kit, incorporating a 4-channel mixer, a 6-channel FireWire soundcard, a MIDI controller and an effects section.

The whole circus is coordinated through the 320x240 colour LCD screen on the top left, which gives access to the highly tweakable interior. Build quality is good overall, but let down slightly by the supremely wobbly push encoders.

Ecler drafted in the help of the Guigiaro design team to help present the complex power of the EVO5 in an elegant and workable way, which is an important factor considering that DJs could potentially use this machine as an Ableton Live MIDI controller, as a Traktor Scratch DV system or even for some straight up four-deck mixing.

Audio and MIDI

The soundcard has six stereo channels which are routed to each of the four channels, plus one for the PFL and one more to the main mix. This is actually very useful as it enables users to utilise all four channels of the mixer for decks and CDJs and still route the output from a computer to the master output, or cue it up via the headphone PFL section.

If you can make do with RCA inputs and one XLR mic input, then it could double up for some studio recording purposes as well.

Native Instruments has given the EV05 its 'Traktor Scratch Ready' stamp so it can be used instead of NI's Audio8 soundcard. The one drawback is the convoluted switching between Traktor and normal modes - this requires some menu diving, making it less instant and intuitive than it should be.

Almost all of the EVO5's controls can be switched to MIDI mode on a channel by channel basis. All editing is via the LCD, and is kept to a simple set of parameters comprising of channel, CC number and pickup modes. Switching between each of the modes requires some menu diving, which again, makes it a little less instant than it could and should be.

Effects

The dual effects engine chains any of the two basic effects modules in series to create an effect preset. Up to 62 of these can be stored in memory or in one of the six quick access buttons around the LCD.

The effects are not revolutionary and consist of the usual suspects - delays, reverbs and flangers - but they're definitely better quality than you'll find on the average DJ mixer.

The all sync to BPM and modulation effects feature pattern step sequences alongside the basic LFO waveshapes. Unfortunately, you can't split the two effects between two channels, and on the whole the effects section isn't as cutting edge or creatively appealing as the ones on the Korg Zero8 or the Pioneer DJM-800.

Summary

All of this high-tech tweakability wouldn't mean that much if the sound quality wasn't up to scratch for an £1,100 mixer. Thankfully, the EV05 does sound rather good, up there with its digital rivals in the big boy league (the aforementioned Korg Zero8 and the Pioneer DJM-800).

The downside, though, is that you have to work a bit harder to unlock all of the EV05's potential.

No-one can deny that the next generation of hyrid DJ mixers is well and truly here. The big players like Korg, Pioneer and Allen & Heath have done the groundwork and laid out the blueprint, so it's about time that Behringer showed up with a similar product at a knock down price.

The DDM4000 is a digital DJ mixer with a typical four channel layout, a two bank sampler, dual effects engines plus it can also function as a full MIDI controller.

The devil is in the details though, and for anyone that cares, they can happily edit every digital detail of this mixer through the large LCD display. From EQ frequencies, fader curves, Ultramiser limiter settings, mic channel EQ and compressor and more.

The mixer has three main pulling points, the first of which is the dual effects bank. Two pairs of identical controls are found in the centre of the mixer, just below the LCD.

After a quick scan of the manual, it's relatively easy to dial up and start tweaking. The nine digital effects are nothing new in themselves, and the sound quality is nothing special, but Behringer have taken a clue from Pioneer and made them frequency selective. This splits the signal into bass, mid and high bands and sends any part of the signal to the effects.

In use

The results are definitely worth it, no more nasty booms and peaks when using the flanger and phaser, echoes and delays can be much clearer without bass, and grungier without hi end. Overall the effects are a lot of fun to play with and with BPM sync on every function, they effortlessly lock in with the groove and feel natural in the mix.

The DDM4000 makes it quick to capture and playback perfect BPM locked loops from any point in the mixers signal path, and adjust the pitch to mix them into the next track.

As well as push button start, the crossfader can be used to trigger loops which quickly became one of my favourite features. Try it with a decent stab sound and you'll know how addictive it can be.

The final big plus is the MIDI controller functionality, making this a true hybrid DJ Mixer for the next generation DJ. Around 81 of the units dials, buttons and faders can be assigned to spit out fixed MIDI CC's and Note On commands, which is perfect for Ableton Live or Traktor as they have comprehensive mapping functions.

It's a doddle to setup, and each mixer channel or control area can be individually switched to MIDI mode, and mixer channels can be muted so no audio passes through.

It's hard to knock this mixer given its price. Nothing comes anywhere close to the DDM4000 for features and tricknology. So if cash is tight or sound quality is not the highest priority, then it's a no-brainer recommendation for the hybrid DJ and live performers.

Spaced-out and simple to use, the mixer has a few key features to set it aside from the crowd, the first being nice big wet/dry rotaries on every channel which control the send return levels when using external effects.

The second is the inclusion of a USB audio interface allowing stereo up and down signals when connected to a laptop. This also allows for your laptop to be used as an FX rack by connecting the USB audio RCA inputs and outputs to the FX send and return RCAs.

This is quite a neat little idea although we're not sure how many DJs would utilise this in clubs, but it could be a useful feature for live performance artists.

OK, it's built well, sounds good and is laid out sensibly to boot, but also has its flaws. It's disappointing that the USB is only USB 1.1 and not 2.0 plus, it would be nice if the USB side would accept USB keys rather than having to use the mixer as an audio interface.

Having the USB channel switchable with the mic channel is a tad irritating. It's certainly a decent mixer but when you compare it to the enormous amount of features Pioneer offer for around £900 with the DJM700 it's difficult to really whole-heartedly recommend the Xone:42 despite a few nice features.