Or maybe Rane is just educating people how to do it properly. If you can afford it, chances are it will become a beloved piece for years to come. I was a big fan of the old rotary mixers, especially for electronic dance music.
I imagine that it could be easily and officially enabled for the big two, but it’s just conjecture at this point that they ever will. While we are treated to an incessant stream of new DJ shiny, the frequency with which we’re genuinely excited has lessened. So having set your gains and EQs, you’re up and running in the classic world of rotary mixing. Complementing this is a 16 part LED meter, with a single red overload LED at the top. We work hard to make DJWORX.
The MP2015 is all about control. On first view, the universal response to the Rane MP2015 was utter aspirational desire, even from those who have no practical use for a rotary mixer.
3 way Filter: High pass, low pass, and high/low hybrid. On the purely analog side, RANE DJ took painstaking measures to make the MP2015 as transparent as possible, offering a total of 113dB of dynamic range (A-weighted) with a dramatically low THD+N spec of just 0.0009%. I just wish they’d lined them up.
Then it’s off to Ray’s place in Hamburg for a much deep dissection of the finer tech points as only Ray can. And then Rane throws away the entire rulebook, looks way back in time, and brings out something that even the most hardened of digital advocates can appreciate, if not love.
Drop your email address here, we'll send you news, tutorials, and special offers once a week. With dual USB ports I hope clubs make this a regular install, however the lack of on-board effects, crossfader, and lines levels will probably mean that it’s equally hated by the EDM contingent. Wooden sided and with a metal chassis and faceplate, and high-quality knobs, buttons and switches throughout (note: no faders!
So while it’s perfectly possible (if bad practice) to crank everything up and run perma-red, the worst that I could make it do was clip, and that was after turning every visible control up to max.
They come in all shapes, sizes, and budgets, but generally is the final stage of control before the audio hits the floor.
Rotary house mixers are a fabled tool from music’s past beloved by house DJs around the globe. And while looking amazingly cool, I suspect that people now prefer the accuracy of LEDs.
I don’t know about you lot, but I’m happiest and safest with mixing channels at 0dB, if only because that’s what I’m used to doing, and it always gives me more headroom if things get lively.
In low/high mode, the zero point has quite a wide band where turning the knob doesn’t do very much.
No “quality enhancement plates” are needed here as the whole chassis is made from thick plate.
And then we read the specs and completely geeked out as any respectable DJ hacks would.
I’ve got first dibs and will be giving you a walk-through of the basics of using the MP2015 as a pure mixer with some dabbling in the finer points. But when I learned I would also be reviewing a Rane Seventy-Two MKII, that threw me for a … For example — you’ve got a nice blend going, and you want to do some cool EQing or filtering. It gives you the levels of adjustability in the channels, which are the foundation for the rest of the mixer. They appear on a lot of their mixers because they know that their mixers are in a lot of clubs, and the need to switch over is vital. 2020 - all rights reserved by DJ TechTools on all content DJTechTools unless otherwise noted. So now having got one in the Worxlab, and played with it for a little while, it’s time to scribble down my impressions to give you a little more hands-on detail than you have before. Unsubscribe at any time. It teaches you about EQing, gain staging, and general good mixer practice. And as previously discussed, session out gives you all the multi-channel output you need for software like Ableton Live. The Rane MP2015 is a four channel rotary mixer. I have to say that it’s a very forgiving mixer — the digital realm affords Rane more control when things get out of hand. If you like it so much, then why not the full five stars, Phil?
It is a classic-looking mixer, and a beast of one at that.
Another feature we liked was the Session In / Out section: On the face of it, it’s just an aux in with a volume control, but having the Session Out option with another volume control opens up options such as daisy-chaining mixers, and we think this would be a great place to patch in Maschine, for instance (staying within the Native Instruments ecosystem), especially if you have it Midi synced with Traktor. It’s a Rane which should be more than enough to tell you how good it is.
Any old mixer will do. One totally new idea is the “sub mix” section. It’s easy to just plug in, make a few adjustments and mix all night long, but if that’s all you want to do, then the MP2015 isn’t for you. This is nothing new for Rane and is a standard feature on all their tabletop mixers. Oh how we salivated upon seeing the first images.
Traktor secrets, controller reviews, a massive MIDI mapping library, and more. ), it screams class, durability and overall high-quality.
Normally you’d have the option to record the master mix and have to live with whatever mistakes you made.
About the filter — this is a clever implementation that services the needs of those who like to go full spectrum in one go, or prefer the extra control of just using a low or high.
Music comes in, and music goes out with no pandering to the needs of turntablists or other more creatively driven DJs. But there’s more — so much more. It’s not that we’re not happy to see new shiny of course, just that it’s becoming a bit like Groundhog Day.
DJ/producers performing live sets will instantly see the benefit in this. Rane’s all-rotary digital / analogue hybrid is as beautiful as it is pricey. Based on the separate Isolator units from the disco days (when the actual mixers themselves often had far less versatile EQs than this one), this allows “macro” control over your mix – colouring your sound slowly, over a long period of time, against the “micro” control offered by the other EQs and mixing controls. The mixer is entirely digital, and comes with a plethora of pure mix-centric features, as well as a generous serving of all that is good in the digital world. And while we could get into a long discussion about the finer points of gain staging, headroom, and other related things, it’s safe to say that the MP2015 will always sound good if you use it right. Build wise, it feels as sturdy as you would expect a mixer of this class. DJs of all styles seemed to appreciate the class of this new Rane mixer, even if they didn’t really know what they’d do with one. Rane is no stranger to rotary mixers, since they brought the style of sought after Urie and Bozak mixers into mass production in 1999 with the MP2016, a classic analogue rotary mixer with simple controls that was beloved by house DJs in particular. It also gives the engineer the ability to “sum” multiple channels into a stereo input on a tape deck or audio interface. All I can tell you is that through a PA and studio monitors, the MP2015 pushes out crystal clear punchy sound.
At the touch of a button, you can route any channel to the sub mix channel; point is, you can route two or three if you like. You can also adjust the tone via the software control panel. My friend has it and I like it however I am definitely not their target client. You could always try Chad G’s very unofficial hack at your own risk to get Traktor Scratch Pro working though. You can duck and have a rudimentary tone control, but that’s it. In all honestly, it wasn’t even a matter of adaptation — I knew that this would be a matter of purely mixing and so left my scratch hands at home.. When you get your head around this, it’s very liberating and empowering.
Whether you’re a vinyl purist or a digital DJ who demands the uncompromised dynamics of 24-bit digital audio, the RANE DJ MP2015 delivers.
A closer look at Denon DJ’s SC6000 & SC6000M Prime, Review: Rane’s new Twelve MKII & Seventy-Two MKII, Review: Numark’s new Mixtrack Pro FX + Platinum FX controllers, NAMM 2015: Rane’s TTM57 MKII + MP2015 Rotary Mixer. The basic outcome is that a band control will have more or less effect that it did depending on how you use a crossover can change the way all three bands work. While on paper what we have here is a four channel rotary mixer with a mic in and an aux in plus some quality filters on board, and not an awful lot else, that’s to miss the point of this unit pretty much entirely.
The Rane MP2015 sits comfortably as the heart of an all-digital set-up, or as a centrepiece for a hybrid analogue spread for DJs who use turntables and CDJs. That doesn’t mean that analogue sources will suffer a terrible A-D conversion — only premium converters have been used. This gives the engineer added routing flexibility and has a variety of uses. Now I know that it’s stated that the isolator output can’t be heard in your headphones and understand why. Sorry — my inner designer never sleeps. While there are accepted best practices, it’s entirely up to you how you use the various stages of control. In sound engineering, a sub mix is a grouping of instruments that are sent to a mixing console’s channel fader (either stereo or mono) that goes out to the master fader. In live sound applications, the sound engineer can create a monitor sub mix for different members of the band. On the mixer itself, there are top and front headphone ports for 1/4” and minijacks, with level and plan plus a split cue button (yay!). A crossover decides which frequencies get sent to which band, which in turn has a different way of shaping sound through the bands themselves.