But I have no doubt that if you do want it and buy it, you’ll be as much in love with it as I am, the difference being that I get a holiday romance, but you can make a life with it. It gives you the levels of adjustability in the channels, which are the foundation for the rest of the mixer. Bass and beats were fatter, but I didn’t get any real crapping out style distortion, as if the MP2015 is saying “I see what you’re doing, and I’m not going to let it happen”. we won't sell your data, ever. Regardless of if this mixer sells on a large scale or not – we are just happy to see more quality products being made that serve the DJ and look great in the booth. I would love one of these as this is right up my street. My friend has it and I like it however I am definitely not their target client. One thing to cover off is playing analogue sources through the MP2015. At the high end, I only have another Rane, the Sixty-Four to compare with. The Bottom Line: This is a sexy, practical mixer with a lot of fun features. If you can afford it, chances are it will become a beloved piece for years to come. Stripping away the chaff and frippery of today’s mixers, the Rane MP2015 is an utterly stunning hybrid of old school ways and new school tech, designed for a particular type of DJ. If you push them both through the submix, you have another full stage of control.
You can duck and have a rudimentary tone control, but that’s it. From a DVS perspective, Virtual DJ does (once you install the Rane control panel), but not being certified Traktor Scratch Pro doesn’t, and neither does Serato DJ. It would have been nice to have resonance per channel, but it’s easy enough to route one channel into the submix to get that additional layer of control. Drop your email address here, we'll send you news, tutorials, and special offers once a week. Line faders quickly end up at 100% all the time, leaving very little room for dynamics and subtle blends. ), you can still be very selective about what has effects applied to it. 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. Sticking with the channels from top to bottom: Input selector: Each channel is switchable between USB A and B, Phono/CD/SPDIF, and aux, and each channel can be routed to the submix. About the only really beneficial feature I find on this is the two USB outputs to be able to change DJ’s seamlessly. There’s an additional control that let’s you switch between master and submix, so that you apply the effects to everything or just what is going through the submix.
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.
The Bad: The all digital mixer can get a little crunchy if over-driven, we were hoping for some analogue warmth. But there’s still more to come. Given the form factor, I asked about analogue meters, but was informed that there wasn’t the room. 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. I have no idea why anyone would want to change from these beautiful Rane controls. It teaches you about EQing, gain staging, and general good mixer practice. 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!).
Sadly, high end mixer manufacturers don’t give units away like sweets, so I don’t have Allen & Heath or E&S mixers casually scattered around the Worxlab. 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. It’s one thing to eschew faders, but another thing altogether to make sense of multiple levels of EQ, and an isolator too.
When DJ TechTools hit me up to do a review of the new Twelve MKIIs I was stoked, but not entirely surprised. 5 channels to play with and for increasing sources of audio. Complementing this is a 16 part LED meter, with a single red overload LED at the top. 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. It’s hard not to want one, hands down. 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. It has a simple function, but the tools it gives you to achieve it are without equal. You can also adjust the tone via the software control panel. Just about all the pots are metal and nutted to the faceplate, bar the matrix inputs which are plastic. This is where perhaps people will find different ways to use the MP2015, ones that suit the way they want to work or that make best use of the environment it’s being used in. 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. It’s important to remember that and I quote “the MP2015 is designed for playback of High-Resolution Audio (HRA) 24-bit studio master quality sources”.
It isn’t for everyone, and given the price tag and the workflow, you have to really want the MP2015. It’s not that we’re not happy to see new shiny of course, just that it’s becoming a bit like Groundhog Day. Oh how we salivated upon seeing the first images. This is nothing new for Rane and is a standard feature on all their tabletop mixers. So if you have three loops in Traktor tied together, you can suddenly take control of them “as a whole”, EQing, filtering, and even sending them to an external FX unit (we reviewed just such a unit, the Pioneer RMX-500, recently), while continuing to mix “as normal” with your other channels. They come in all shapes, sizes, and budgets, but generally is the final stage of control before the audio hits the floor. So while you don’t get dedicated channel loops (do you ever on a DJ mixer? There’s an app you can run on your laptop to tweak various aspects of it (see the accompanying video), and as this is actually a fully digital mixer, you can feed the S/PDIF digital output from your CDJs straight into digital inputs on the back of it, to save unnecessary digital to analogue and back to digital conversion. Rane really have outdone themselves when creating the MP2015 which is not only a unique mixer in the marketplace but one of the most feature-packed, best-sounding and downright awesome mixers to have ever been released.
And it’s brilliant.
The Rane MP2015 is a four channel rotary mixer. We love it. But it’s not supposed to. It’s not as fully featured as a regular channel (there are single in and out controls), but the ability to record individual channels through session out via USB is amazing. We could only find two controls that couldn’t be mapped — the mic switch and FX loop send level button. It is a modern mixer for modern times, but uses a classic workflow. Two USB ports make for easy DJ changeovers and advanced DJ/performer play, as well as having a serious number of inputs and outputs. While it is fully specced (line, mic, and phantom power) plus a software switchable clean option (master will or won’t be recorded), it doesn’t get any submix or effects love. ), it screams class, durability and overall high-quality.
As well as being extremely high-quality throughout and having that very unusual retro feel, it has some insanely fun routing options too. This year they seek revive the feeling, and look of that classic tool in a new digital format. Now I know that it’s stated that the isolator output can’t be heard in your headphones and understand why.
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