The Rane MP2015 is a no-compromise music-mixing performance instrument.
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.
A world-class leader in performance, the MP2015 is designed for playback of High-Resolution Audio (HRA) 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.
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 [Asahi Kasei Microdevices Corporation] 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%.
Studio-Quality Phono Preamps, and S/PDIF for CDJs
The Phono-CD (or any line-level source) analog input stages feature gold RCA connectors and are true studio-quality preamplifiers providing EMI, RFI and transient overvoltage protection against ESD. The circuitry provides low noise, high gain-bandwidth, low harmonic distortion, fast slew rate and high output current. The phono RIAA filter accuracy measures +0.1/-0.2 dB from perfect. Included are 18 Hz high-pass infrasonic (rumble) filters with steep 18 dB/octave slopes and ultrasonic filters beginning rolloff at 50 kHz at a 12 dB/octave rate. A zero-distortion relay selects between CD and Phono operation.
- EMI (electromagnetic interference) A measure of electromagnetic radiation from equipment.
- RFI (radio frequency interference) A measure of radio frequency (RF) radiation from equipment.
- ESD (electrostatic discharge) Electrical discharges of static electricity that build up on personnel or equipment, generated by interaction of dissimilar materials.
Using CDJs? For the very best sound, bypass the D/A converters and go direct digital with S/PDIF. Regular RCA line inputs work for players without S/PDIF outputs. Switches for each input let you choose.
Filters and EQ
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 (4th-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 (2nd-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 one of the USB ports.
Like the Sweep Filters, 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 EQ Section
The proprietary three-band output Isolator is a steep 24 dB/octave (4th-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.
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.
The Submix is great innovation for multi-track DJs, combining 1 to 4 channels plus the Session Input into a Submix, thereby controlling multiple tracks with one set of EQ, Filter, and volume controls. This means turning one knob instead of trying to turn several channel knobs at once. Quickly assign or un-assign any Input to the Submix, which has its own meter, headphone Cue, and USB record output. This is also where an external effects unit can be mixed in, and assigned to the Submix or the Main Mix. The Submix can also be used as a 5th input channel from the Session Input. No other mixer on the market provides this ease of multi-track use.
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