REVIEW: Behringer CMD Modular DJ Controllers


Price: $130/€119/£111

Behringer CMD Modular DJ Controller Review


I have been waiting for a solid modular DJ solution for a while. I remember the excitement surrounding the release of the Stanton SCS3 line and the sense of acceptance that it was the best I was going to get at the time. Now, all these years later, I have another stack of Behringer CMD modular controller boxes to be excited about getting because I am that many steps closer to building my dream rig, whatever it may be this week.

So I unpacked the five boxes and locked everything together. Just looking at them is kind of overwhelming, and I know it’s going to be difficult to review them in a way that makes sense. While they all have their own use cases and they are also all made from the same stuff.

I am not planning on spending a lot of time discussing the included mappings because while Behringer has worked hard to provide you with as much assistance to take these things out of their boxes and get to work, their real strength is in being utilized based around what you need in your personal rig. Take note, each controller’s mapping in Traktor is set up precisely around what the expected work flow of each individual controller is, not how they work together as a greater whole. The community around these will most definitely invest time into building their perfect combinations, though.

The 5 main modular controllers (the MM-1, DV-1, PL-1, LC-1 and DC-1) are all $129.99 and they all come with Behringer’s 3 year warranty.

Behringer CMD Modular DJ Controller Review

Unboxing and First Impressions

All of the controllers are designed the same. They are all anodized aluminum with hard plastic buttons and smooth rubber knobs. All controllers but the MM-1 use exclusively endless encoders with LED rings around them. The rings around the knobs are clear with a small little indicator for position, though they are very close together with some lights almost touching. The MM-1 uses almost all absolute encoders with little white dots to indicate position. The buttons are well-lit between orange (off) and blue (on) (except the LC-1 which also has green and pink). The LEDS can also blink via a MIDI message.

Behringer CMD Modular DJ Controller Review

Connecting the units can be a chore, but is so much better than every other solution we have been presented with. The bottom of each controller holds a metal plate with two screws. You unscrew the plates from the bottom of each unit and connect them by screwing the plate back between the two controllers. Compared to the terrible magnets used on the SCS3s this is a godsend. I just wish that the other manufacturers dabbling in modular controls *cough*NI*cough* would take heed of this as connecting these makes moving them so much easier.

Each controller is 6” wide by 12” long and just under 2” high. They come with a TSI file and direct integration into Deckadance 2, and the DC-1, LC-1 and MM-1 all have Ableton scripts for direct integration. Each controller sends on its own MIDI channel (PL-1 on channels 1-4, MM-1 on 5, DC-1 on 6, DV-1 on 7 and LC-1 on 8).

Behringer CMD Modular DJ Controller Review

The MM-1

Years ago I wanted nothing more than a simple 4 channel MIDI controller. I didn’t want a full four deck controller, I just wanted something I could put next to the multitude of controllers I was gathering to get the core mixing requirements for four decks. The only option I really had was the ill-fated SCS.1m, and while getting that controller kind of kick started my entire career in the industry it was not what I wanted, and it ended up sitting off to the side after not-too-long. The MM-1, though, is a much more compelling option. It is not crammed full of controls, gives you everything you need for a simple 4 channel mixer.

Behringer CMD Micro DJ Controller Review (2)

There are 4 knobs in each channel strip and a 60mm line fader. The top section has four knobs to control the output levels in your software and a small browse section consisting of two buttons labeled left and right and an endless push encoder. The buttons are used in Traktor to scroll through your Explorer, though I would use them to change what the knob scrolls (Browser, Explorer, Favorites). There is a small shift button in the lower middle section of the mixer, in Traktor’s case it allows the Cue button to load tracks. In each channel below the knobs are two mixer buttons and a long cue button. The mixer buttons are used to route FX to the channels but you could use these for anything you wanted.

Behringer CMD Modular DJ Controller Review

The faders feel fine, in a stock standard MIDI controller sort of way. I wouldn’t be looking to do any tricks but they definitely will take a hammering before you are done with them. While the controller is very minimal it carries everything you need for mixing. This is not a controller that can handle your entire work flow, but its main purpose is to be used between two other CMD controllers, or in an existing rig consisting of, frankly, anything. You could put this between two Maschine Mikro’s and probably have a massively compelling controllerist rig.

Behringer CMD Micro DJ Controller Review (14)

The MM-1 is the only controller with a built-in USB hub, which also requires a power supply to power other connected CMD units.

behringer cmd DV-1 dj controller

The DV-1

All these years later a good friend of mine still uses his BCR-2000, and I can’t blame him. Finally Behringer has provided a solution that might not be as powerful as that classic controller, but at least shows they are still serious about utility. The DV-1 has 12 endless rotaries and 39 buttons. There is a whole host of control crammed into this one little box and any creative mapper could have a field day jury rigging this thing to do almost anything they could need.

Behringer CMD Micro DJ Controller Review (4)

The most compelling use case for this controller is to sit it right next to any all-in-one DJ controller (like the Studio 4a) and add almost every single command the larger controllers don’t have the real estate for. It is, by far, one of the most complete utility controllers I have ever used. While the buttons are not the most comfortable (like all the rest of the CMD line) there is such a host of control in a small, elegant package that I can really see myself taking advantage of the various extra pieces general manufacturers leave out of their own controllers.

Just keep in mind, with Traktor, the A-D buttons change the deck focus. If you’re setup is, for whatever reason, reliant on deck focus, this may cause you issues.

Behringer CMD Micro DJ Controller Review (18)

The PL-1

Much like the MM-1, there are very few controllers on the market that fill the need the PL-1 fills. There are 8 endless knobs, a 60mm 14-bit pitch fader, a 4 inch jog wheel and all the necessary transport controls. While this controller doesn’t cover every need you could have, putting two of these on either side of an MM-1 will provide a solid control scheme for not-too-much-money (approximately $390). The platter is a smaller version of the 4a, but without any of that frustrating extra loose spinning.

The Deck button cycles through 4 different channels (1-4). You can’t change how this interacts, so if you are only using two decks you still need to cycle through decks 3 and 4 to get back to 1 from 2. If you wanted to, though, you could go into the TSI in Traktor, as an example, and change all Decks 3 to 1 and 4 to 2, and you would effectively fake a two channel controller. Since Traktor’s controller manager is not the best thing ever, I would understand you not wanting to take the effort to do that.

Behringer CMD Micro DJ Controller Review (9)

The layout is really elegant. The transport buttons are very large, and the mode buttons around the jog wheel are extremely clear. The fact that the jog wheel is just a little stiffer on this controller definitely makes it more useful for simple tricks and just moving around a track. The wheel didn’t give me a lot of issues with simple scratching, and I didn’t notice a lot of drift, at least for simple tricks. It is a small platter, though, and the grip feels funny in the beginning. The platter is loose enough to spin quickly, yet tight enough to stop almost instantly when being spun allowing for very smooth backspins.

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The LC-1

While all of these controllers can be used with any application that receives MIDI, the LC-1 is the only one in the pack that looks tailor-made for Ableton’s Session View. There is a good mapping for Traktor as well, but the available commands lend themselves very well for a simple controller to play in Ableton. There are 8 endless encoders and 52 buttons with four color states (orange, blue, green and pink). Effectively you get half a Launchpad + some knobs and mode buttons with an extra color. Unfortunately, the LEDs behind the clip launch buttons have a LOT of bleed amongst them. If a button is off it picks up the surrounding colors and looks, well, really ugly, especially when the blues and pinks clash and make some hideous color combinations.

The buttons suffer from the same issues as the rest of the controllers, namely that they don’t respond uniformly across the whole physical button, and they are not very comfortable to play with. Since this lends itself more toward a performance style controller, I could see getting very tired of using these buttons, especially when there are better solutions for not that much money on the market (the Launchpad 2, for example). That being said, when in Ableton, you have a good host of controls, including Mute/Solo/Record and you can build your own macros using the knobs.

Behringer CMD Micro DJ Controller Review (3)

All in all I think that this controller has the least use cases to it, whereas almost everything else can be seriously used in many different instances. The provided Traktor mapping is alright, but I would seriously recommend remapping this to suit your needs and not to even bother with the one that comes with it. I could definitely see this controller being used to take advantage of the new remix deck functionality, but I just wish there was some sort of navigation or browsing section. I know there is only so much space, but it is the only piece that’s missing. Put it next to the DC-1, however, and you can have a really compelling workflow.

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The DC-1

And finally, we get to the drum controller. The DC-1 has 8 endless encoders, a browse section consisting of 8 buttons and an endless push encoder, 8 small buttons and 16 large performance buttons/pads. The pads are not velocity sensitive and are made of the same material as all of the other buttons in the line. In comparison to the comparable controllers I’ve used (the F1 and the MIDI Fighter 3D) this one has the most features available with the least amount of needed layers, and I am a huge fan of the layout.

Behringer CMD Micro DJ Controller Review (5)

That being said, the buttons are extremely simple. If you mis-hit you will not get a good response, so make sure you’re aiming for the center of the button. This is a problem I experienced with the F1 as well, but not nearly to this level. The LED feedback is bright, though, and the buttons feel like they could take a beating. There is no need to complain about the lack of velocity sensitivity, honestly, because this is really made for cue juggling and possible session juggling in Ableton. I don’t see the need, especially at this price point.

To quell the rumor mill now, though, the DC-1 will work with any DJ Tech Tools MIDI Fighter preset. You won’t get the X/Y joys of the 3D, and it might not be wireless like the Spectra, but it does tap any purchaser into a larger community of mappers to get even more compelling layouts. And, beyond that, there are more controls on the DC-1 than the stock MIDI Fighters, so you can take what’s out there and make it much better for your needs.

The DC-1 is also most appropriate to map to the Remix Decks, now that they allow direct MIDI mapping. It has just about as many controls as the F1 and is set up in a very similar manner. With the experience I’ve had with mapping the remix decks, I’d very much recommend this controller if you don’t want to pay the surplus for the F1. And Behringer is the first company so far to release a MIDI map for the Remix Decks, using the DC-1. While the direct integration of Native Instrument’s offering is definitely useful, the lower price tag and extra buttons (the DC-1 has 8 more buttons than the F1), as well as the ability to develop your own preferred workflow, gives it a slight advantage.

Behringer CMD Micro DJ Controller Review (6)

Wrapping It Up

All of that being said these controllers are far from perfect. The absolute knobs do not give a very good indicating position, and the buttons have a mixed response if you don’t hit them right. For the price I can forgive these issues, but I wish they weren’t issues at all. I would not recommend buying all of them unless you’re willing to map, since the provided mappings cover a lot of duplicated commands in Traktor (the DC-1 and the LC-1 both control Key and Filter; the PL-1 and the DV-1 both control FX banks, etc.) and are just screaming to be remapped to fit what any DJ would want.

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So having got the gripes out of the way, what are we left with? These are absolutely wonderful controllers for the price. At $129.99 there are so many options for what you may be lacking in your existing rig that doesn’t justify the cost of purchasing another full controller. I would, without a doubt, recommend any of these controllers, depending on what you need for your individual setup. Behringer will be fostering a community of mappers to provide tons of solutions based on individual needs.

Want a compelling 4-deck controller for under $400? Get an MM-1 and two PL-1s, and then remap them so they do all the crazy stuff you want them to do, and then share them with the internet so others can take advantage of them. The true power of these controllers does not lie in the provided mappings and the options on the silk screen, but instead in the open endedness of them, and the ability to lock them together to develop your own personal workflow.

After all of this time DJing on laptops, Behringer has been the manufacturer to finally provide the solutions I have been waiting for.


About Jared Helfer

Jared spends too much time staring at MIDI to have time to cut his hair or shave. He is also a DJ. He currently holds the record as the "Most Fired" at DJWorx, and is willing to challenge anyone to the title. He spends his time DJing in his office and releasing mixes on his website and mixcloud, as well as playing violent video games, reading books, and beginning to get involved in production. He also enjoys tormenting Mark Settle about his age and Britishness.

  • lokey

    so frustrating that they’ve made the mm1 require an ac adaptor, even without using the hub. I picked one up to sit beside my push, and its frustrating to not be able to bus power it, especially considering how few leds it has compared to the push ;p

    compare this to the stanton scs touch mixer, which had even more leds, yet could be used simply with bus power if you werent using the hub. Its a real design flaw to require the ac adaptor even to turn on.

    • nem0nic

      The problem with allowing it to run off bus power alone (without hub functionality) is that users won’t understand that limitation. They’ll try using it unpowered as a hub, and the result will generate support problems. So the decision was made to require power for the MM-1.

      I totally get that particular criticism, and knew going in that this would be a sticking point for some people.

      • lokey

        it really limits the utility of the device. i wish you had more confidence in your customers. as i said, the scs mixer made the right choice. for my live rig, i can power the mixer, my monome, and a spacenavigator control, all over bus power from a single port, without needing the ac. was hoping this mm1 could provide the same utility, while having actual faders. but as it is, the mm1 is going to be reduced to studio use. sigh.

        • Professorbx

          Working at Stanton for over 3 years, I can say that Stanton made the wrong decision. The support calls were a nightmare, as the device could function as a hub without power……sometimes. It was buggy as hell, and the average customer doesn’t read the manual enough to know what a bad idea it is. I’ve been using the MM-1 for over 4 months now (pre-production units), and I have never once felt like the utility was degraded in any way. I always carry a 4-spot mini power strip in my bag, which I feel like should be Digital DJ 101……

          • lokey

            all i can say is that if you’re making design decisions that compromise the utility of your product in order to make things easier on your support team, you have your priorities wrong. so fair enough, its not designed for my usage case, but its a damned shame that its not useful in circumstances which do not permit an ac adaptor, such as busking. anyway, its about time for me to just make a nice faderbox myself, rather than wait around for a commercial product. ah well.

            • lokey

              all that said, it is a nice package overall, certainly the best of the scant few true midi mixers. glad of the purchase, aside from the previous utility concerns.

            • Professorbx

              Its not making things easier for the support team, it is making things easier for the customer. Look at it this way-design something so you can use it in a way that WILL FAIL eventually, or add a minor annoyance that will ensure successful operation 100% of the time. Why design something so you can use it in a stupid way? Is Craig supposed to put a big ass sign on the back of the unit that says “Don’t plug anything into the USB ports if you don’t have power”? And, more to the point, even if he did, one or two idiots would post on boards “Oh, yea, it works just fine”, ensuring that customers will have failures and blame Behringer even if it is their own damned fault.

              • lokey

                Thats a mighty limited view your adopting there amigo. Yes, there are use cases where you need to have power. But many usb devices simply dont draw enough to cause problems.

                • lokey

                  Both of the usb hubs i have sitting on my desk behave in the way i describe, without the need for any silly warning label about select use cases. You include the power adaptor for the use cases which require it, but dont lock your device into requiring it for cases where its not needed (including when not using the hub at all).

                • Professorbx

                  Yes, but there are ones that do, and the problem is that you have fools who will use them. When you are in product development, you have to plan for every contingency. Have you ever designed a product/managed product development/engineering? I have. Plenty. Same with Craig. First thing you learn is that the product has to be made with the idea that every person has the chance to do everything wrong, and ensure that your product is not the weak link that will ruin their set, even if they use it wrong. And when you think of the idea of using the MM-1 as a portable scratch device, sorry, small use case. Tiny. Like 5 out of 50,000. And I say that as a DJ who goes home from work and scratches every night.

                  • lokey

                    you simply highlight why the midi controller market has stagnated so severely in the last 5 years. why you would design for the lowest common denominator. fine. back to ignoring the major manufacturers in favour of boutique controllers and custom handmade instruments. we’re nearing the end of your business model, thank goodness and good riddance.

                    • Professorbx

                      Lol…. If I was designing things that were cookie cutter I wouldn’t have quit my last job out of frustration. As far as the boutique thing, great, design allthe controllers you want for those who are in the smallest use cases, and try to sell them. The boutique market is awesome. IveI’ve been building a controller for the last 6 months myself. But the world needs more controllers for the little guy. DJing is not the exclusive smart person club. This isn’t an Ayn Rand novel. As far as the innofader, have not talked to elliot in about 4 months, I’m actually due to call him. I know that he had a huge move though a while ago.

                    • lokey

                      id love to know what sort of market research youve conducted to come to the conclusion that a portable bus powered midi mixer is such a small use case, to be honest i think youre being overly dismissive. but as i said, its becoming more and more feasible to just design and build your own these days, without having to worry at all about selling the damned thing to anyone, or trying to argue with people who claim to know what people want. not at all sure what youre getting at with the rand comment. i hardly think designing for the little guy needs to mean thinking for him.

                  • lokey

                    but while ive got your attention, on that note, are you still involved with elliot and the innofader? seems the website redirects these days, given that im going to have to go ahead and build my mixer myself, i wanted to check up on how that non-oem mini innofader was coming…?

                  • coolout

                    I agree. If you notice the most successful DJ products (and also consumer electronics in general) are the ones that are the most idiot-proof. In my experience when it comes to tech, people generally are stupid and don’t like to research or read manuals.

                    • lokey

                      i think its a mistake to equate these things with ‘consumer’ electronics. its not a bloody tv, its an instrument.

            • nem0nic

              For the first round of product, it made a lot of sense to target a more broad use case, and to make them as trouble-free as possible. But since the whole point of the CMD controllers is to offer DJs a way to build their ideal controller, it’s natural to follow the initial release with other products. We’ll listen to customers and react to demand. If a non-powered version is requested, you can bet you’ll see one released.

              On the initial release, I see the biggest feature of the MM-1 to be the USB hub. It opens up so many possibilities for DJs who are USB port challenged (which is pretty much all of us). The controller is just kind of icing on the cake – especially when you consider that a decent USB 2.0 multi-TT hub alone can cost $30-40.

              But if you’re busking, I’m going to assume that you’ve got some kind of battery in your kit (to power speakers and/or extend the life of your laptop battery). The MM-1 power supply is 12VDC and 1000mA. It would be pretty easy to find a battery that fits these requirements. If you felt particularly crafty, you could probably do a LiPo based pack that would easily fit inside the MM-1 case and give you enough juice to match your laptop’s battery.

              • lokey

                well, that highlights the divide right there: the appeal is the midi controller itself. There are only a handful of portable midi mixers on the market with effective crossfaders, and the mm1 is the best of the bunch, in my opinion. USB hubs are a dime a dozen, but quality midi crossfaders that i can stow in a backpack is an unsaturated market. So you trade off the real appeal to mimic a device which many already have already found solutions to. Thanks for all the time you’ve taken nem0nic, in putting these together and participating in these discussions! Consider this not criticism, but me voicing my particular use case for your information.

                • nem0nic

                  Oh no, I love this kind of feedback. Even if I don’t always agree, this kind of back and forth makes me look at other uses I might not have thought about before. As long as you have a valid point, I’m all ears. And you do have a valid point. This issue was considered heavily before the CMD controllers ever went into production.

                  • lokey

                    ok, all the best nem0nic, consider this your first sale when you release a hubless version!

            • steve brown

              (1)yes, just make the controller you want, yourself. 🙂 you’ll be much happier.
              (2)there are plenty of 4 port hubs that will happily un-powered-power plenty of available controllers from dj tech; which are of better quality than these.
              (3)there really is no reason why this shouldn’t work as an un-powered hub. other than has already been stated, to make life easier for the support calls. which is par for the course for the way these companies view their own customers…with contempt. Certain people being worse than others in this regard, of course.

              • lokey

                ha, exactly. all these years waiting for manufacturers to get their act together. im amazed. we’re talking about laptop music making. its inherently complex. where did this idea come from, that people making it need there hands held?

      • VLF

        A simple LED – hub ON/OFF would have done the trick for 99.9% of the users, don’t you think?
        The ergonomics are more of an issue with the MM1.

  • Perhaps you guys are not aware of the specs that a USB socket has. One socket can provide a max of 500mA, so four sockets (a hub) cannot run off a single USB input because that’s limited to 500mA. Each USB output of the hub needs to provide up to 500mA to meet the USB spec, so the hub needs to run from a minimum of 2A of power.

    • lokey

      sure, and id have no problem with requiring ac to run the hub. but youre missing the point that you should be able to run the mixer itself over the bus. the hub is another concern (although again, most hubs give you the option regardless, as many usb devices dont draw near to 50ma.

  • ace

    Hard plastic buttons>> Booooo !

  • timtempest

    I have a question about the pitch slider on the PL-1. Say I have a track on deck one and I’ve pitched it right up. I then switch to deck B and I want to pitch that track up a bit. How can I use the fader to do that, given it’s already at maximum slide position. Thank you.

    I use Traktor and am not any kind of expert with it.

    • nem0nic

      The PL-1 pitch fader has an LED array next to it that shows you what the “actual” pitch value is. So when you switch decks, you can see the value switch as well. In your example where deck A is pitched all the way up, when you switch to deck B, you’ll see the pitch LED move to the new deck B value – so you’ll know there’s a difference between the physical fader position and the pitch value in Traktor. When you move the pitch fader to the new position indicated by the LED, Traktor’s soft takeover will keep the actual pitch from changing until the fader hits the soft takeover position (indicated by the LED).

      At that point the pitch fader works normally.

      • timtempest

        well there you go. Great answer thank you… must admit I couldn’t see how it would work.

  • Sergio Pantaleo

    Really nice devices, strong at a very affordable price. it’s a pitty they don’t have some kind of Xone XLink technology.

    • nem0nic

      We actually thought about that, but didn’t see a specific use that made sense. The XLink allows the user to build an aggregate audio device. We could have made something similar to create an aggregate MIDI device, but then you wouldn’t have clearly defined TSIs (or TSIs that are device specific). Ultimately we ditched the idea, but it makes more sense when the devices have built in audio – especially in Windows where audio device aggregation is kind of a pain.

  • RogueDJ

    So these are for sale already?

    • nem0nic


  • Loudist

    I’m getting quite fed up of reviews that say, “but, at this price, you can’t really argue.” Where is the pro-spec gear? The controller market is pretty long in the tooth now, but it’s *still* littered with devices that feature cheap buttons, knobs and faders.

    Where are the Akai MPC or Pioneer DJM level-of-quality products? Some of us need Tonka toys, not Christmas cracker items.

    • The market is depressed right now, with production in all areas scaled back. And most people want cheaper controllers, and that’s where the manufacturers will go to keep the lights on.

      That said, we’ve got an NS7 II coming, which is the most expensive piece of new DJ gear around. And it has MPC buttons. WIll that keep you happy for a while?

    • Jared Helfer

      As much as I’d love super high quality modular gear, the reality is there isn’t demand for it. If any manufacturer were to release gear like this at high prices it wouldn’t do nearly as well. Look at the A&H Xone K2. It’s a fantastic controller, built well, and fully featured, but it’s more than double what any of these modular controllers are.
      The X1/X1MK2 (review coming) and F1 are some of the only controllers comparable to these, but they also come at a higher cost. Right now there aren’t a lot of manufacturers creating modular gear, and I do believe these Behringer controllers are definitely capable of working in a professional enviornment.
      Expensive does not necessarily equal better or more “pro”. There are always going to be sacrifices manufacturers will need to make, either by increasing price or cutting back on features. And that price is always a factor for the user.

    • nem0nic

      Just to jump in and add to what Mark and Jared have said, another reason that higher end modular products are still so niche is because integration is a harder sell. When someone pays $130 for a controller, it’s easy to justify a more general implementation. If the user has to load a TSI, it can be forgiven. But if a product costs $400, users expect not only some kind of hardware implementation, but some cool product specific functionality. The Akai Push is a great example of what I’m talking about. Unfortunately, the software environment for DJs has only gotten more closed, and you see high level integration with fewer products (with the exception of products made by the companies that also make the software).

      • Paolo

        I have a question: if I have 2 MM-1s, will they work on the same midi channel or can I change midi channel per item?

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  • VLF

    I’ve been using the MM1 for a few weeks now and overall I like it a lot.
    However, there are some design issues with it.
    Firstly the knobs have hardly any tactile feedback. They are smooth, with no tactile indication of their position. The zero-notch is so delicate it is almost impossible to feel it when turning the knob. No fast filter or EQ sweeps back to zero, not possible.
    Of course there are aftermarket caps, which come in colours, shapes and sizes. The problem is that despite quite a large surface area on the mixer the knobs are so close together that with my “manly” fingers I have problems not bumping into neighbouring knobs. They are so close together, that the famous “rainbow knobs” larger caps would not fit one next to another… booo…
    And the LEDs… Behringer’s idea of “OFF” is actually bright orange ON! There is no way to turn the LEDs off… why?
    For mapping the ability to have the LED off/orange/blue would increase the attractiveness of the MM1 twofold.
    The browsing arrangement of the encoder and two buttons works fine, despite being criticised in many reviews.
    And… here’s a mixer without the gain pots… I’m still not sure if that’s innovative or stupid (mapped my own, thank you!).
    And my last gripe is the LED level meter. This shows Behringer’s pedigree. I may be the only person on earth, but I don’t care about a master out level (which is on the club’s mixer anyway) while I have no meters for each channel or even an indication of which channel is currently playing. With all LEDs being ON at all times, even with some mapping fancy footwork it’s not easy to program a reasonable Track ON indicator. I did map the level meter to, instead of stereo, show levels for each channel A&B and with SHIFT C&D – cumbersome, but it works.
    Oh, one more thing. There’s a nice cable holder at the back of the unit, but no power switch, pulling the plug is the only way to turn the unit off (yes, including the LEDs) which feel sort of XIX century to me.
    Apart form that, the unit does what it’s supposed to do and does it well enough for me.

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  • Scoox

    12 knobs …. They just keep getting it wrong. First of all with the labels, by labelling buttons (Play, Stop, etc) you constrain users to use a button for what YOU think it’s right, not for what the user wants. What if I am left handed and want my buttons swapped over? Second, what people want is a smaller version of the BCR with all the original power and functionality. The BCR is such and amazing device yet a pain in the ass to bring to gigs due to its size. Encoders with LED rings really rock in Traktor, why not just come up with a BCR that’s as thin as Push + Knob caps?

    In summary, make your units more versatily, a bit like Livid stuff but with your tried-and-tested rotary encoders which may I say are kick-ass.