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Dec 13, 03
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Rotary dj mixers
theres been a bunch of talk about rotary mixers
I'm a huge fan of these high end models and the phat tube sound that goes along with them. not to mention all the big knobs... it's like driving a submarine yo! my personal favorites: (pulled from http://www.allen-heath.com/) Xone:V6 Audiophile Rotary Club Mixer suggested retail price approx $10,000  Xone:V6 is an echo of the earliest days of pro audio, when idealistic individuals created outstanding products free from cost or time constraints. Such creations were never cheap. Nor did they sell in their thousands. But they did become landmark design classics. Our mission for Xone:V6 was simply to build the highest quality club mixer ever. We painstakingly refined our signal paths to optimise audio transparency. Hundreds of the best quality components were evaluated and of these only the very finest were approved for the project. The result is a mixer that gives great recordings the space and freedom to express their full warmth and clarity.  The XONE:V6 Crossfader is a 1U rack module which adds crossfade capability to the XONE:V6, allowing the user to select any input to either side of the crossfader when required. Utilising a Penny&Giles conductive plastic crossfader and high performance voltage controlled attenuators, the module interfaces with the XONE:V6 via channel insert points. The unit offers the DJ further flexibility - the crossfader can be switched between mix and scratch type curves. Frequency response + 0/-1dB (10Hz - 50 KHz) Maximum output level +24dBu THD+N0.007% at +10dBu Left/Right separation -95dBr at 1kHz Channel crosstalk -110dBr 1kHz Residual output noise -97dBu 22Hz - 22kHz (47R source) Crossfader attenuation -100dBr   The EQ module is a dual, 3 band stereo isolator to provide variable attenuation of Low, Mid and High frequencies. The module, a 1U rack unit with 6 stereo inputs/outputs, connects to the Xone:V6 channel insert points via high quality RCA phono leads (not supplied). The unit has been designed to complement the high standards of sonic performance of the Xone:V6 mixer and allows any two channels to be assigned to the filters simultaneously. It can seamlessly blend two tracks, or create an "audio montage", such as mixing the bass line of one track with the vocal of another. The unit shares the V6 power supply and is connected via a link lead (supplied). Frequency points: Low (Fixed 3-pole shelf) -3dB 350Hz Mid (Fixed notch) 1.2kHz High (Swept low pass) 20Khz - 300Hz Frequency response + 0/-1dB (10Hz - 40 KHz) Maximum output level +24dBu THD+N 0.006% at 0dBu Left/Right separation -95dBr at 1kHz Channel crosstalk -110dBr 1kHz Residual output noise -102dBu 22Hz - 22kHz 
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Dec 13, 03
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(info pulled from http://www.stantondj.com/)
Stanton VRM-10  suggested retail: $3,450.00 The VRM-10 is Stanton's new flagship mixer. There is no other DJ mixer like it in the world. From it's valve preamp and built-in filter to its high quality faders, this mixer is any DJ's dream come true. Inputs The VRM-10 features 8 line and 4 phono inputs on 4 input channels. Each input channel can be assigned to either side of the crossfader, or the crossfader can be bypassed altogether. The blue LED indicators make it easy to see how the crossfader is assigned. A crossfader curve adjustment is provided to allow the user to gradually change from a sharp curve for scratching, to a long fade for mixing. 2 microphone inputs are provided on a single channel. Each mic has its own gain control and share a 3 band EQ.  ^ check those knobs yo! Outputs The VRM-10 has a wide selection of outputs to choose from. Master 1 features a balanced XLR connection with output level selection of 0dB or +6dB. Master 2 features unbalanced RCA connections. Each Master output features its own level control. Master 1 also features a balance control. A booth output is also provided to monitor the audio from within the DJ booth. There are 2 headphone outputs (1/4”/6.3mm and 1/8”/3.5mm)Each channel features a Pre Fader Listen button to assign each channel to the headphone output independently. If none of the PFL buttons are pressed, the master output will automatically be assigned. An S P/DIF digital output is also provided for those who like to keep it in the digital realm through the audio path. Aside from the effect send and return, an output labeled AUX will be useful for several applications from individual channel monitoring or recording to a second effects loop using an empty channel as a return. This will allow the user to EQ the incoming effect signal. The AUX output features individual level control for each channel. Sound Processing The VRM-10 features several sound processing units built-in. Each of the VRM-10’s channels feature a gain control and an extremely versatile 3 band parametric EQ (hi/low +/-15dB; mid +/-25dB) with midrange frequency adjustment (100Hz / 10KHz). The VRM-10’s valve preamp provides the absolute best sound quality ever in a DJ mixer. There are 16 on board DSP effects including 2 hall reverbs, 3 room reverbs, 2 plate reverbs, and a spring simulator; 4 stereo delays; 4 chorus / flanger effects. There are 5 parameter controls including level, feedback, speed, factor, and depth. The speed controls the frequency of the LFO (0.1-20Hz), depending on the depth setting. The on board effects can be assigned to each channel or the master output. The VRM-10 also features a DJ filter which consists of two 24dB/octave analog filters. Bandpass and notch settings are provided with high and low cut-off and resonance controls. In bandpass mode, it is possible to completely eliminate the output signal completely if the controls are used heavily. The frequency controls act as high torque kill switches. A trigger button is provided to temporarily switch the filter on or off. -Super smooth VCA faders -Crossfader curve adjustment -8 line and 4 phono inputs on 4 channels -2 mic inputs with gain control and 3 band EQ -Extremely versatile 3 band EQ (+/-15dB) with parametric mids (+/-25dB 100Hz/10KHz) on each channel -Built-in analog bandpass and notch filters with high and low cut-off and resonance controls -16 built-in DSP effects, including Reverb, Delay, Flanger, Pitch shifter, with 5 parameter controls: level, feedback, speed, factor, and depth. -Built-in valve preamp provides the absolute best sound quality ever in a DJ mixer. Features liquid mercury tube indicators -Assignable effects send/return for external effects. -2 masters and 1 booth output (Master 1 has XLR, TRS balanced 1/4" and unbalanced RCA) -Each channel is assignable to either side of the crossfader. LED indicators are provided. Technical Specifications MIC INPUTS: Sensitivity -46dBu • Impedance 10kOhm • S/N Ratio >80dB • THD+Noise <0.1% • EQ High +/- 15dB, 10 kHz • EQ Mid +/-15dB, 1.1kHz • EQ Low +/-15dB, 50Hz CHANNEL INPUTS: Sensitivity -20dBu (Lines), -60dBu (Phone with RIAA Filter) • Impedance 100kOhm (Lines), 50kOhm (Phono) • S/N Ratio >85dB • THD+Noise <0.1% • EQ High +/-15dB • EQ Low +/-15dB • Parametric Midrange +/-25dB(100Hz-10kHz) • Aux-Level 0dBu OUTPUTS: Effect-Loop 0dBu • Booth 0dBu • Master1 0/+6dBu (switchable) • Master2 +6dBu EFFECTS: Frequency Range 20Hz-15kHz • THD+Noise 0.025% • S/N Ratio 86dB • 8 Reverberation 4 Delay (Feedback adjustable) 4 Flanging (Speed, Factor, Depth adjustable) FILTER: Mode: Band/Notch • Frequency Range 50Hz-15kHz 24dB/Octave • Resonance +6dB PHONES: Impedance 30-200 Ohms • Frequency Range 20Hz-20kHz DIMENSIONS: 19" rackmount (8U)
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Dec 13, 03
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Thanks for posting that Somanator!
I totally appreciate the functional/sound quality and advantages with these mixers but I can't see someone using a mixer like the A&H one at a Rave... or even at a club for that matter. -- At least in town here, I haven't seen a lot of it at all. The Stanton seems a bit more functional as far as layout.
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Dec 13, 03
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(pulled from http://www.rane.com)
MP 2016 Rotary Mixer XP 2016 Expander   suggested retail $3100.00 Features -Six Stereo Input Buses -Four Dedicated Stereo Phono/Line Pre-amps -Two Dedicated Mic/Line Pre-amps with: -Gain Trim - Two Band Tone Control -Engage Switch - Booth Ducking -Five stereo Auxiliary Inputs -Input Gain Controls for Level Matching -40 mm Master and Mix Controls -Switchable Effects Loop -Mono Switch -Booth Output with Master/Cue Source Select -Pre-Effects Tape Output -Post-Effects Tape Output with Level Control -Accelerated-Slope, Full-Cut, 3-Band Tone Controls -High Power Headphone Monitor with Master/Cue Source Select -Audiophile/Studio Sound Quality -Optional XP 2016 with: -Active-Crossfader with Full Range Contour Control -A-POST-B Crossfader Assign switches -Stereo Master/Cue Meter with Peak Hold -Six Channels of Stereo, Accelerated-Slope, Full Cut, 3-Band Tone Controls. General Description For almost a decade, professional DJs have been waiting for a quality rotary mixer. If you yell loud and long enough, someone will listen. Rane proudly presents the MP 2016 Rotary Mixer. The MP 2016 is a rotary mixer featuring six input buses, Booth and House Outputs, pre-effects Tape Output, post-effects Tape Output with level control, switchable Effects Loop, and Headphone Cueing. Stereo buses 1 through 4 feature high quality RIAA phono preamplifiers which may be set for line input via rear panel switches. Stereo buses 5 and 6 each provide a balanced microphone preamplifier with Input Gain trim, Mic/Line switch, two-band EQ, Mic engage switch and internal Booth Ducking enable jumper. In addition to the six dedicated preamplifiers, all six buses may select any of the five stereo Auxiliary Inputs. Each input bus provides a six-position source selector, Input Gain control for matching levels, signal/overload indicators and a studio grade 40 mm Master Mix control. The Booth Output may select Master or Cue as its source. An ultra-low noise, high power headphone amplifier also allows monitoring the Master mix or Cue. The Master mix circuit provides signal/overload indicators, Mono switch and high-pass rumble filters. In addition, the MP 2016 features patent pending high performance three-band, full-cut, Accelerated-Slope tone controls. The MP 2016 provides exceptional ergonomics, good feel, and a clean intuitive layout packaged in a compact 19 inch, 3U rack mount chassis, a scant five inches deep. So you say, "Great, but to accommodate the diverse needs of all DJ mixing styles, I need dedicated high performance 3-band, full-cut, Accelerated-Slope tone controls for each of the six input buses, high-performance Active Crossfader with a full-range contour control, A-Post-B Crossfader Assign switches and a stereo, 10-segment, peak dBu Master/Cue Meter with peak hold; all without effecting the ergonomics of my classic rotary mixer." We've got you covered! With the flip of a switch on the MP 2016 front panel, you can engage the optional XP 2016 External Processor and acquire all of these features. The XP 2016 is an optional external processor designed specifically for use with the MP 2016. The XP 2016 is intended to mount above or below the MP 2016. It connects with a single 10-inch ribbon cable and is engaged with the flip of a switch on the MP 2016 front panel. If an XP 2016 is not connected, the XP 2016 engage switch on the MP 2016 has no effect. The XP 2016 provides dedicated Accelerated-Slope, 3-band, full-cut tone controls for each of the six stereo Input Channels, A-Post-B Crossfader Assign switches for all six Input Channels, a high-performance Active-Crossfader™ with full range Contour control, and a stereo 10-segment peak dBu Master/Cue Meter with peak hold. The six stereo, post Mix Level signals in the MP 2016 are fed to the XP 2016. When the XP 2016 is not engaged, the post Mix Level signals go directly to the Master Mix in the MP 2016. When the XP 2016 is engaged, the stereo Master Mix comes from the XP 2016. If all Input Channels on the XP 2016 are assigned Post-Crossfader, the Mix will be identical to the MP 2016 (with the addition of tone controls for each Input Channel). For Crossfader control, simply assign a Channel to the A or B side of the Crossfader. The Active Crossfader features a full-range Contour control for smooth blending or ultra fast cuts. The Master/Cue Meter follows the source selection of the headphone monitor on the MP 2016. If Master is selected, the XP 2016 Meter monitors the pre-house-level Master signal. If Cue is selected, the XP 2016 meter monitors Cue Source selection. The XP 2016 matches the MP 2016 ergonomics, packaged in a compact 19 inch, 3U rack mount chassis, 5 inches deep. Last edited by soma; Dec 13, 03 at 01:52 AM.
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Dec 13, 03
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i gotta say spinning with the rotaries changes your sound and style! i kinda like the rotaries alot actually since the idea of it is similar to the sliders but u can make those fat chunky bass drops and u got more control with levels with you're used to em.
im still a beginner with them... i used a buddies vestax one a while ago but it was interesting. this AH one looks nuts... gotta check that out someday putting these mixers in the clubs/raves would definetly spark some interesting sets... hehe
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Dec 13, 03
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I started on rotary mixers... many..many ...many moons ago...Love the things..to this day...but I'm a house dj so what do I know.
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Dec 13, 03
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Interesting... I've yet to try one myself but I just assumed that those kind of mixers would only be for specific kinds of music... IE: more progressive mixes... Trance, etc...
Martin - from a DnB perspective, I would be very curious to know how you found mixing with a rotary mixer...
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Dec 13, 03
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and now for my baby!
PMC 46 MKII  Suggested retail: $1775.00 The features and specs are based on the popular house mixer PMC-45, adding more space around each control. The PMC-46MKII was designed with advice from professional DJs in New York. Features 4/6 channel mixing instrument with 4 phono and 8 line inputs. Advanced mixing facilities through Aux send – return and Submaster VCA controlled Crossfader Special cue-signal monitoring through new option meter. Special selected rotary input fader Extremely variable mixing facilities Specifications INPUT Phono input stereo (RIAA –46dBv; RCA) x 4 Line input stereo (-10dBv; RCA) x 8 Mic. Input (–50dBv bal.; XLR) x 1 (-50dBv; Jack ¼ inch) x 1 Aux. return stereo (-10dBv; Jack ¼ inch) OUTPUT PA out: stereo (+4dBv; XLR bal.) Sub Master: stereo (-10 dBv; Jack ¼ inch) Line out: stereo (0 dBv or-10dBv switchable by internal switch Jack ¼ inch ) Monitor Headphone out: stereo (190 mW; Jack ¼ inch) Effects send: Stereo (-10dBv Jack ¼ inch) CHANNELS 4/6 Channels; (4 stereo, 2 mono) Channel 1 - 4: Input switch phono/ line/line; Input gain 2-band equaliser low +6/-24dB at 80 Hz, high +6/-24dB at 10kHz Aux. button with control LED Assign Selector: A-Master-B; Rotary input level control Channel 5 (Mic): 2-band equaliser low +6/-24dB at 80 Hz, high +6/-24dB at 20kHz Aux. button with control LED Pan. L-R Input level control Cue button: on-off with control LED. Channel 6 (Sub Mic) : Gain control. MASTER Bal. L-R House filter switch: off-x-y Rotary output level control VU Meter L-R - Option level bar display Talkover button SUB MASTER: Bal. L-R Selector switch output-cue Aux Master: Send level control, Receive level control ADDITIONAL Monitor: Phones level; 6-position cue switch; Split monitor switch with LED indicator; Crossfader: Channel A-B, crossfader mode control. FREQU. RESPONSE: 20-20000 Hz +/- 3dB; S/N RATIO: >75d DIMENSIONS : (WxHxD) 482 x 121 x 220 mm ( 19inch 5U ); WEIGHT : 5,0 Kg POWER SUPPLY: Mains AC Accessories / User replaceable Parts: Cross fader : CF-46/2 45 mm Last edited by soma; Dec 13, 03 at 02:05 AM.
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Dec 13, 03
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Quote:
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Dec 13, 03
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nice!!!!!
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Dec 13, 03
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Quote:
plus the whole feel is pretty unique... the levels move up in a linear curve and with the rotary knob it definetly has a smooth transition compared to the fader thats harder to achieve that level of smoothness. i'd like to get more practice on one of these though.... definetly alot of potential
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Dec 13, 03
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actually kraig rotary mixers are quite popular at many serious house clubs.. never seen one in vancouver, mind, and if the club throws other kinds of electronic nights then visiting DJs will bitch about the rotary knobs almost without fail.. ha. contributing to this is the fact that most of the classics, true analogs and extreme high end don't have EQ across each channel! notice that even the $10k xone v6 just has a high pass filter per channel and no EQ.
the inspiration for all these newer mock up rotary mixers are those produced by urei and bozak. these were some of the first DJ mixers and they're still considered by many to be the best in the world though most models are 20+ years old. serious house heads hunt these down and pay a pretty penny for them. you'll actually find these old analog beasts installed at the most serious house clubs.. they're kind of neat in that every one of them sounds a bit different due to their completely analog nature. urei 1620:  the bozak!  notice there's no channel EQ on either
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Dec 13, 03
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^^
summed it up very nicely. 7 alexander was one of the few clubs to have the Rane rotary console installed and man was it a dream to play on...fuck i want a Rane!!! The EQ across the whole channel spectrum is the main reason i'd take the rane over the allen&heath...although i bet you could buy additional modules and wire it up - that would make for one big fucking console though. on another note the vestax DCR-1200 isolator is awesome - i played on one of those with a full rane console and it really opens things up for a whole new dimension of eq tricks.
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Dec 13, 03
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I find that using parametric eqs instead of the standard fixed graphic eq on most dj mixers gives you that kind of freedom
the tascam x9 has the parametric eq that I speak of as do many outboard frequency isolators. eq tricks.... here's one : the Flange 1. attenuate (turn down) your bass 100 - 40hz 2. turn up the mid range + 4db 3. then use the parametric collar and sweep 100hz to 10khz the phasers and flangers use a LFO to create this fx but with the parametric eq you can do it you self and get absolute control of your fx. Last edited by soma; Dec 13, 03 at 07:40 AM.
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Dec 13, 03
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Dec 13, 03
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clubs out side of north america take these thing far more seriously as the major players expect the quality. I know what you mean about the noise though. analog is a beautiful thing and sounds phat but the signal to noise ratio doesn't leave the mix with much dynamics.
mostly all studios will keep the old analog gear and tape machines to get recordings of those that phat analog sound. bob rock (matallicas producer) has always taken the digital recordings from protools and dubbed them to 2' tape then back to pro tools so that there is the analog sound is there but the recording is still in a digital formatt for tweeking with little to no quality loss.
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