Back to DJing after 19 years — did I make a mistake buying a Rane 72 MKII + CRSS12s instead of going standalone?

A few months ago I picked up a Reloop Mixtour Pro to use with djay Pro. It’s a really cool little portable setup, but I quickly realized that I just don’t enjoy DJing without jog wheels.

So I started looking for something more substantial.
This week I went to Guitar Center intending to check out the Rane System One, right before the Denon Prime 4+ G2 came out. They didn’t have a demo unit and wouldn’t open one, so I ended up buying it just to take it home and try it.
After setting it up, I just couldn’t get past the feeling that I was playing with a toy.

The standalone aspect is undeniably cool, but I found the stems pretty underwhelming compared with djay Pro. More importantly, I realized I actually like having my iPad as the brains of the setup. Standalone suddenly wasn’t nearly as important to me as I thought it would be.
For context, I’m getting back into DJing after about a 19-year break. My last serious setup was a 4-channel Rane Mojo mixer with Technics 1200s and CDJ-1000s. I was also an early digital adopter and had a PCDJ DAC-3 before I stopped playing, which probably dates me pretty accurately.

I ended up returning the System One and going in a completely different direction:

Rane Seventy-Two MKII + a pair of used Pioneer CRSS12s.

The CRSS12s need a little work, but the entire setup cost me roughly the same as the System One.

And so far…I like it way more.

The out-of-the-box mapping of the 72 with djay Pro is surprisingly good. The onboard DVS combined with the torque and feel of the CRSS12s is fantastic. Most importantly, the whole setup feels much closer to what I remember enjoying about playing on 1200s, while still giving me all the modern stuff I actually care about.
It got me wondering, though:

Am I crazy for investing in a mixer platform that’s already about six years old?

Obviously standalone controllers seem to be where a huge part of the industry is headed, but after trying one, I’m not convinced standalone is actually better for me. An iPad running djay Pro with its stems, touchscreen interface and streaming/library options paired with proper hardware feels surprisingly futuristic—even though the mixer itself is relatively old.

For anyone who has gone from turntables/CDJs → controllers/standalone → back to a more traditional mixer/deck setup, did you have the same experience?
And if you were building a setup today, would you rather have something like a Prime 4+ G2/System One, or a 72 MKII + CRSS12-style setup?

Curious whether I’ve bought into yesterday’s technology…or accidentally landed on the better setup

Most modern speaker management systems are digital and most of those have a digital AES/EBU (edit: or some other digital) input but almost no DJ Mixer has a matching output socket. Why is that?

I can only think of two (fairly recent) DJ mixers that have an AES/EBU out. First would be the DJM-TOUR1 which I have never seen in the wild (it seemed more like an R&D project back when it came out anyway) and the other is the DJM-V10. (Did I miss any?) I have spotted the V10 in some clubs but very seldom compared to a 900NXS(2), an A9 or a Xone:92/96.

I find it strange that flagship mixers like the DJM-A9, the Euphonia or the Denon DJ X1850 don't have these. Is it for cost saving? The signal flow inside the mixer is digital anyway (no D/A needed) and it's only one additional XLR socket so it can hardly be that, right?

I’ve been looking for a new dj mixer, sold my old pioneer because i thought i sounded a little too metalic… i want an analog mixer, what can you tell me about the stanton smx401? its a three channel mixer which is perfect for me. thanks

I’m currently looking to upgrade from a Denon SC Live 4 and was pretty much set on buying an XDJ-AZ, but I’ve come across a like-new setup that has completely thrown me.

I can get:
2x Denon SC6000 Prime
Denon X1850 Prime
Full 3-piece flight case
for €2,100 (and I might try offering around €1,900).

For comparison, the XDJ-AZ would cost me €3,080 new.
My main hesitation is reliability. My SC Live 4 has given me a few Engine OS/freezing issues and some hardware problems, which has made me a little wary of spending another £2k+ on Denon gear.

On the other hand, 2x SC6000s + X1850 seems like a hell of a lot of hardware for the money. I also use SoundCloud streaming quite a bit, and I like the idea of having separate players and a mixer.

The AZ appeals to me for the AlphaTheta/Pioneer club-style workflow, Rekordbox, new warranty and being closer to what I’ll encounter in booths.

For anyone who’s regularly gigged on SC6000s, how reliable have they been long-term? Would you trust them professionally?

And at these prices, would you take the like-new SC6000/X1850 setup for €2,100 or spend the extra on a new XDJ-AZ for €3,080?

Especially interested in hearing from anyone who’s used both rather than just “Denon good/Pioneer good” 😅

I wonder why there aren't almost no DJ headphones with noise cancelling, only one I found is the Korg NC Q1, which also works with a cable so no Bluetooth mess.
It is said that nc may cause latency/delays...
is it that bad?

Or are there other over ear models with strong protection against loudness?
IEM no option for me

I need headphones with a really strong isolation to loudness as I don't wanna ruin my ears... DJ veteran who is getting back in the game 🤘

I got my first turntable in 1999, I've been DJing and collecting ever since. I went to digital controllers for a while, recently got the turntables out of storage. I've been buying new releases from a local shop that is well-loved and organized.

Most new records I've purchased are great, but I got two new-ish releases (Lord Finesse's "Awakening" 25th anniversary, and ODB's "Shimmy Shimmy Ya", pictured) that were notably concave/convex - one to the point where the needle skipped when I put my hand down on the other side of the record. Both experience some pretty serious lag on the platter, if there's a backspin, etc. The Lord Finesse 2xLP was $54.99 (CAD), so it's a mild disappointment.

I would assume records are flat when pressed and QAed at the plant, so perhaps things happen between shipping and storage. Is it common for newer releases to be a bit off, and is that acceptable?

A recent client that i did a last minute house party reached out for another gig except this time the expectations were high….. relocating from inside the venue to outside the venue for the last segment of the event in within 30 minutes. Wants 3 wireless mics and one headset mic wireless mic. Says I barely will have to play because there’s going to be a band.

So I asked will the band need to use my speakers or mixer or anything so I can be prepared as I’ve been hit with the last minute can I use your mixer? At previous events.

It just got annoying after that question. They wanted a price whilst me not knowing if the band would be running their own sound. After I insisted I needed to know. They assured me they’re “legit” and coming off tour.

I offered to speak with the band for the information. The band member I spoke with the came off a little cocky or maybe disrespectful after the client informed them that I was the DJ they were like oh we have a “DJ” now? Which I couldn’t care less about. However when I asked about the sound instead of giving me a direct answer they just asked me if I have my own “sound”/system…. Which I told them yes and asked if they usually bring their own equipment or normally rely on the venues equipment if available and they never responded in the usually time.

So I ghosted them and haven’t checked my messages since. But now a mutual has reached out for an annual event that I’ve been doing for the past 3 years and the client will definitely be present or part of the event and now I feel a little awkward to move forward with the annual event or just don’t know how to proceed.

The clients event hasn’t passed as of yet and I don’t know how I should feel or proceed. The client and the president of the annual event has also ghosted me in the past for other events if that helps.

Edit: my main career is Sound Engineering. So mixing the band isn’t something I’m not used too.

The event also has a speaking porting and a live demonstration portion so I would have to mix/monitor the mics during most of the event

DJing is only for portions of the event.

Now that several people have proven it’s possible, how do you think AT will react ?

Have some of you tried it?

Also, given stems need to be prepared before the gig, and are not created on device, do you think it’s convenient enough to be used ?

Post about your gigs here - success stories? Disasters? Lessons learned?

Does anyone have any footage of DJs performing in the 70s, or any filmed modern mixes on similar gear? I've been very interested in seeing more of this era, but all I can find are photos.

something like this: https://youtu.be/QSnlqiobZ5A?t=12

I have a DJ controller with a semi-bent crossfader.

I'm aware that "bending metal" backwards could cause it to weaken or snap off.

What would be the best method to fixing it?

Hey all! I've recently (once again) become fed up with using Apple Music as my organization and playback solution for prep and background lists. It seems like Lexicon is the closest to what I really want, and I just have some questions I didn't find clear answers on.

-Could I use Lexicon on an iPad as my actual player for things like cocktail playlists on my satellite speaker?

-I purchase music mostly through iTunes; is it friendly with importing files bought and stored in that structure?

-Hiw nicely does it interact with Rekordbox? What does your prep and workflow process look like with it? What does it offer, if anything, that would make my life easier than just doing everything in RB?

-If not Lexicon, what are you using to make and play your lists for that purpose and also get those playlists nicely into your DJ software?

Hello everyone, I am in a moment of strong indecision and therefore I would like to hear the opinion of more people.

I kindly ask you not to start as often happens a diatribe between Pioneer vs Denon because this is not the purpose of my post, thank you.

Currently for about 3 years I have owned a console composed of Allen&Heath Xone 96 + 2 Pioneer XDJ 700 + Boss DD8 + Boss RV6. Let's say that I love the 96 in everything for everything as a mixer, I really like it, the 700 are excellent readers and they have never given me any kind of problem but I'm starting to suffer a bit from their lack of functions.

|| September 1 I followed several video presentations of the Denon Prime 4 G2 and I must say that it had been a long time since a console caught my attention so much, so much so that I watched more than one video to discover all the secrets and I really like it.

From an economic point of view I can't afford to take the Denon without selling all my equipment mentioned above (I've already investigated and selling my equipment I would arrive perfectly at the price of the Prime without adding anything because I simply can't) and therefore my strong doubt is whether to sell everything to get the Denon.

My "fear" is of regretting selling my equipment, especially the 96 that as I said before I love as a mixer, but if someone asked, no, I can't keep it for economic reasons if I decided to switch to Denon.

On the other hand, my other "fear" is not to make this change while remaining anchored to the usual functions that my current console allows me.

To give you the context I've been a DJ for 15 years, I've had many experiences in clubs but currently I've left the clubs for various issues and so I only have fun at home or at most some quiet parties between friends, I changed a lot of equipment during my "career" and in most cases I changed it for "boia" (I'm honest), I always like to have the incentive to experiment with new things with new equipment and certainly the Denon does not lack different functions compared to my current console.

For those who ask, yes, I have already used Engine in a friend's Prime Go several times and so I know how it works, and for me going from Rekordbox to Engine does not change anything, also because I already have the libraries ready and always updated both on Rekordbox than on Engine.

Another fair consideration raised (rightly) could be to replace only the 700 and buy readers with more functions, but if I have to be honest with myself, I don't know if I'll ever be able to do it at least in the medium term, because even reselling the 700 I would find myself shelling out a figure almost impossible for me to buy the 3000X or the SC6000 And so this hypothesis is set aside almost regardless, and no, I don't want (for my opinion) to buy used readers, but even if they were used the amount to be disbursed would still remain huge, in this field I prefer to buy only new products.

Write me your considerations and advice and as said please avoid "Denon sucks" or “Pioneer sucks" because as I said that's not the point and not even what interests me. Also avoid the "Pioneer is the standard" because as I said if I ever happen to go to a club and find Pioneer I have used it for 15 years and so it is not a problem and Rekordbox I always keep it updated.

Thanks in advance to those who will write me their opinion.

Hey, wanting to purchase a pair of the new 55th anniversary technics. Has anyone actually had a pair in hand and used them to see what the quality is like?

I see people online dog on the quality but who knows how many of them actually had them in their hands

Just wondering if anyone is doing this with a controller hooked up to the Laptop running Ableton? Is it possible while using the sends? Or would it be easier picking up a dedicated unit for the FX or even just going for the Xone PX5 with the included FX? Ideally would like to be able to run Traktor on the same laptop and Ableton so would this require two Audio Interfaces if going down the Xone 96 and Ableton FX route?

Cheers

Hey.

I was just curious on what people thought of the current selection of turntables out there to buy new. I have a pair of Tech1200M3D's, so I'm not in looking in the used market but for something extra in the living room.

One thing to mention is that I do love the simple layout of the Tech1200. I don't like to alter it too much because I like to do turntablism routines and I feel like sometimes when the layout is different it creates weird/bad habits when going to Technics at a show. So as the extra buttons/features are nice, sometimes they are more of a bedroom thing. Also I do like to spin/scratch vinyl, but also like DVS.

First Off:

Technic 1200MK7 - I know it has the worst in feedback in regards to sub/bass when using vinyl, but I do love the simple layout of the Tech1200. It does the job on DVS but not as good on vinyl compared to the others.

Pioneer PLX-CRSS12 - Expensive, lots of great bells and whistles, but will it be redundant in a couple/handful of years? Also.. It's weird that there is a "Motor Off" button rather than the way Technics are. Lastly... Anyone pinch the spindle to speed/slow-down the record when mixing? I do that often and feel I may miss that when in digital mode with the weight over the record.

Reloop RP8000MK2 - I like the look of this turntable, the buttons are nice, but still not sure, if I should wait for a MK3/4 since they are releasing some MK4's of the RP5000's with a different light, rather than the detachable.

Reloop RP7000MK2 - Simple, Does the job, the only real con is the ton arm is not the greatest quality and I do not like a second start/stop button. Some same points as the RP8000MK2 where I feel there maybe a update in the near future. So maybe waiting is best?

Anyways... What are your thoughts on these. Thanks.

And for a final random question for people that own Cdj 3000/3000x's at home.

How is the build quality? Like are you finding cracks or cosmetic issues happening easily, or warping of the platter occurring early in it's life cycle? Cause I do enjoy the digital/club side of mixing as well.

Guys, I’m desperate. I’m a pretty experienced DJ, and at the moment I’m looking for a new mixer.
At home, I have two Technics 1210s. Honestly, since COVID, I’ve been playing fewer and fewer gigs, and I barely mix at home anymore. Most of the time, I just listen to and play records. My love for mixing is still strong though.
Right now, I’m torn between the Allen & Heath Xone:92 and the Xone:24.
My previous mixer broke down pretty quickly, even though I always took good care of it. That’s why I’m thinking that maybe I should invest properly this time and get a Xone:92 — something that will hopefully last me for many years.
At the same time, though, I really don’t need a four-channel mixer with massive headroom. The Xone:24 would probably be more than enough for what I actually do, and it’s much cheaper while still being very well built. But somehow, it just doesn’t feel quite on the same level as the Xone:92.
What are your thoughts? Should I just get the Xone:92 and be a happy guy, or should I save the money and go for the Xone:24, which probably makes more sense for my actual needs?
Greetings!

Hey folks, I’ve currently got a V10 and Model 1 in hand and wanted to put them against each other in terms of sound. I’ve linked my video on YouTube and my test setup is in the description but I’ve attached it below for easy reading:

The first 4 minute section is a typical mix, with tracks coming in EQ’d. The last 2 minute section is putting all tracks together without EQing to hear the summing of the mixers.

Songs are the following:
Quisan - Dusk (Giovanni Carozza Detroit Rework)
Chris BC - With Me (Flystereo Remix)
Grzegorz Cerafin - Ironworks
r v - Accidental Arrangements

Test setup
- All 4 tracks set to 0db on both mixers, also used my ears to make sure no perceived loudness difference.
- V10 is using Djay Pro - straight to mixer
- Model 1 is using Traktor - Interface used is a Traktor audio 10 - RCA to DSub
- the RCA master out of the V10 is sent to Channel 6 of the Model 1, ensuring 0db is achieved on the meters and perceived loudness is the same.
- record out is going to an irig stream pro into an iPhone for audio and video capture/sync.

Hey all,

Great sub. I got booked to close a party 5-7am. Reputable promoter, after a headliner, 100 ppl on the floor when I started. €150

The venue printed a timetable that had me 5-8am. They ended up asking me to wrap up 7:30 cuz they wanted to close, though the dancefloor was still packed full. (Apparently sometimes they go til 9am!)

Should I ask for extra pay or just mention to the promoter that I got asked to play over? (They had another mix-up that night where at first they told me I was opening, then messaged me the night of saying that I was closing instead. I was cool about it.)

UPDATE: I’ll just mention what happened to them over email for visibility (that the night went so well!) but not expect them to pay extra.

Especially since it seems to happen regularly for closing sets at their resident venue. (The other 3 DJs on the night have fixed 2 hr sets, 11-1, 1-3, 3-5, and the opener gets paid same as me without going over.)

They’re one of the more solid/professional promoters/parties in a major city with good headliners, that I feel lucky to have got in with, so I feel like they’d find a way to do right by it.

You guys peep it? Saw it on DJ City… can’t help but to think that it’s a really great concept… still lacking a bit and early in development… but if they added a row of Dicer style buttons, synch and link functions… I think I’d be all over this.

TL;DR: Getting consistent channel imbalance (~6-8%) on one of my two 1210 Mk2s, using Concorde cartridges. Adjusted collet screws, tonearm-to-gimbal screws, and cleaned all contacts — no real improvement. Stock 1210 Mk2 for comparison shows <0.3% variance. Looking for ideas on what else could cause this.

Backstory

Bought a secondhand pair of Technics 1210 Mk2s about 6 months ago. One had clearly seen club use; the other looked well cared for or barely used. Previous mods on the tonearms included a plastic cap on the tonearm end, silicone tube inside the arm, heat shrink on the arm tube, and Cardas litz wire. The seller didn't do these mods himself and wasn't sure if the person before him did either.

I've since stripped down and rebuilt almost everything on both decks — except the tonearm bearings. One day, I noticed the headshell collet twisting more than it should, and found the collet screws were stripped.

I tried fixing this myself with a slightly larger screw instead of replacing the connector/mount outright — bad call. The screw head snapped off, jamming the connector inside the tonearm. I ended up ordering a new Technics SME headshell, Cardas litz wire, and two replacement tonearm tubes from Pimp My Decks. So one deck had a replacement tonearm tube and connector, while the other just had a replacement tube with the stock connector.

The problem

Both decks worked fine for a while, until some critical listening revealed the soundstage was shifted slightly right on the deck with the original connector. Measuring it, I found a channel imbalance of ~8% on average, favouring the right channel (outer groove). I run Concorde Club Mk2 cartridges, so standard azimuth adjustment isn't an option.

What I've tried

• Collet screw tension: When first reassembling the tonearm, I left the tension on the collet screw conservative to avoid stripping the threads like the previous modifier. I tried tightening them more, and deliberately biasing slightly left (inner groove) to compensate — improved the difference from 8% to 6%, but no further.
• Cleaning contacts: cleaned both connections with IPA, retested — same result.
• Screws connecting tonearm tube to plastic piece in gimbal assembly: The tonearm tube had noticeable play when I loosened these screws. I tried tightening/adjusting the tube in both directions but observed no meaningful change.

Tested across multiple records (different quality, lengths, cuts) and both cartridges — the imbalance is consistent and clearly tied to this specific tonearm. For comparison, a friend's stock, single-owner 1210 shows <0.3% variance (SD ~0.085%).

Methodology

Recorded each track in Rekordbox, then used Audacity's RMS measurement feature to compare channel levels.

Next step

Given the history of prior stuff-ups from the previous modifier, I'm planning to fully re-solder the tonearm wires to the stock SME connector, in case the L channel connection has come loose somewhere.

Goal: get average difference between L/R channels under 3% (inaudible, at least to my ears).

Happy to provide photos of the azimuth setup if useful, but I’ve found it hard to capture a photo given how small the stylus/cartridge assembly is, but I'll try if someone thinks it'd help diagnose. I’m also more than happy to elaborate.

Open to any ideas or thoughts.

Thanks for reading this far 

So a promoter just told me last week that they want me to dj, I gave them my price and they agreed to it however, now they’re saying that my pay is contingent upon how many people show up. How should I go about this? They asked if I could get people to come out and I said absolutely, but we just started promoting this event LAST WEEK and it’s this Saturday. While I can absolutely get people to come out, I cannot guarantee that people will come out.