Rane MP2015 4 Channel Rotary DJ Mixer

Control, sound, reliability and durability distinguish Rane’s new techno house club mixer for high-end audio systems.

Born from a legacy of rotary club mixers beginning in 1971 with Rudy Bozak’s CMA-10-2DL, on to 1982 and UREI’s 1620, then in 1999 Rane’s MP2016/XP2016 combo, and now in 2015, the MP2015 represents the next revival and evolution.

With over 40 years of rotary mixer experience to draw on, along with collaboration and input from the world’s best techno house DJs, the MP2015 is the best mixer produced by Rane—ever. There are no compromises in the design. It has the best sound, the best features, the best feel, and the best reliability and durability.

Hi-Res Sources
A world-class leader in performance, the MP2015 is designed for playback of High-Resolution Audio (HRA)[1] 24-bit studio master quality sources; its sonic signature has no equal, satisfying the most stringent vinyl purists. And the dynamics are perfect for DJs preferring the uncompressed sound of WAV and FLAC files.

Ergonomics
Strikingly different and beautiful to look at with its laser-etched Rane-logo wood side panels, classic spun-aluminum knob caps, 16-segment level peak-hold meters and back-lit push switches, the MP2015 sports a new compact size and shape for a rotary mixer, with all controls selected, designed and located for effortless professional performance playback. Its size makes it portable and easy to move about.

Sound Quality
Professional high-end sound quality begins and ends with the audio signal converters. The MP2015 uses premium performance Audio 4 Pro™ delta-sigma modulator converters by AKM[2] that meet the highest sound quality standards of recording studios. The balanced differential audio input converters deliver 116 dB dynamic range, utilizing a built-in modified FIR architecture that minimizes group delay, allowing excellent linear phase response. The 24-bit audio output converters have the same 116 dB dynamic range and sport AKM’s proprietary 24-bit digital filter for better sound quality achieving low distortion characteristics and wide dynamic range. The differential outputs eliminate the need for AC coupling capacitors further increasing performance.  Input and output converters support sample rates of 44.1 kHz, 48 kHz, or 96 kHz. Overall Digital/USB in to Line out, or Line in to Digital/USB out dynamic range is 116 dB (A-weighted), while Line input to Line output dynamic range is a remarkable 113 dB (A-weighted) with vanishingly low THD+N of 0.0009%.

Submix Channel
This unique input channel provides grouping any number of inputs for easy multi-source mixing. It allows one set of controls for all functions verses having to deal with multiple knobs and buttons on multiple channels. Plus this becomes another input simply by activating the SUB button found on the Session In section.  

Filters
Each of the four Input channels and the Submix channel feature a unique and exclusive three-position toggle selector-switch. Choose between LP (low-pass), HP (high-pass) or L-H (low-pass, high-pass combo). All have steep 24 dB/octave (4^th-order) slopes and are sweepable.

In the LP position the Filter knob sweeps the low-pass frequency from 20 Hz to 20 kHz (CCW to CW). The 12:00 middle position is 635 Hz. 

In the HP position the Filter knob sweeps the high-pass frequency from 20 Hz to 20 kHz (CCW to CW). The 12:00 middle position is 635 Hz.

In the L-H position the Filter knob sweeps either the LP or HP filter depending upon rotation direction from center. The 12:00 middle position bypasses both filters giving a flat unaffected response. Rotating the knob from fully counterclockwise to center sweeps the LP filter from 20 Hz to 18 kHz. Rotating the knob from center to fully clockwise sweeps the HP filter from 35 Hz to 20 kHz. 

The single Resonance (Q) knob controls the shape of all Input and Submix filters. The range is from flat (Q=0.707) to max peaking (Q=12). 

These filters are high resolution, fast and artifact free, with all filter coefficients accurately calculated for the selected sample rate.

Channel Tone Controls
All input channels and the Submix channel have exceptional three-band tone controls characterized by being 12 dB/octave (2^nd-order) Linkwitz-Riley, full-cut filters (kill) with selectable crossover points of 150 Hz/6.0 kHz or 300 Hz/3.0 kHz. The crossover points are selected in the user control panel when connected to a computer via the USB ports.

Like the Filters section above, the Tone Control filters are extremely accurate, high resolution, fast and artifact free, with all filter coefficients accurately calculated for the selected sample rate.

Isolator Section
The proprietary three-band output Isolator is a steep 24 dB/octave (4^th-order) phase-compensated Linkwitz-Riley design with continuously adjustable low-mid and mid-high crossover points. Like the Tone Controls, these filters are extremely accurate, high resolution, fast and artifact free, with all filter coefficients accurately calculated for the selected sample rate.

Adjustable crossovers allow the artist to match the Isolator to the music being played. Low-mid crossover is adjustable from 80 Hz to 640 Hz. Mid-high crossover is adjustable from 1 kHz to 8 kHz.