REVIEW: Rane Sixty Four Serato DJ Mixer

Link: Rane Sixty Four • Price: $2195/€2190/£1995 • Manual: Rane DJ Website

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Last year, I was looking for a fully integrated solution for DJing with Traktor Scratch Pro to replace my Ecler Evo5 which, disappointingly, never received a 64-bit driver update – so I purchased a Kontrol Z2. However, due to its very limited hackability, the mixer eventually had to find a new home – and I had to find a new mixer. Truly a pain these days, as most of the greats are gone from the DJ market. In the true high-end area, the options are limited. Luckily, attending the BPM Show in Birmingham provided me with the opportunity to try some fresh kit – and unexpectedly, I found a mixer worth writing about.

The DJWORX/IDA booth was located right next to the Rane showcase stand, so it was easy for me to spend some time over there and check out their new flagship: The Sixty Four. The mixer wasn’t connected to a computer, probably because Serato DJ 1.5 was still in beta at that time – but I could take a good look at the layout and build quality.

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Let’s get the obvious stuff out of the way: we’re looking at a Rane mixer designed with turntablists in mind, so it’s perfectly OK to expect an amazing crossfader, and the Rane Sixty Four doesn’t disappoint. Unlike the crossfader, however, the line faders are not magnetic; according to Rane it wasn’t a budget decision, there simply wasn’t enough space to put them in – but the regular ones still do a very good job. The knobs feel just right, too: no wobbliness, just the right amount of resistance and an unobtrusive center click where necessary. If you’re used to working with rubber buttons, the backlit plastic triggers on the Sixty Four take a while to adapt to – but once you’re familiar with them, feel and response are actually great. Someone clearly spent a lot of time looking for the perfect “click” on every little bit of this mixer, down to the little joystick in the effects section. The controls are packed pretty tightly for a 4-channel unit, but in my opinion they couldn’t have been laid out any better.

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The faceplate has a nice matte surface with no sharp edges – there’s even a secondary headphone connector on the front of the unit, so your cable won’t get in the way. The improved high-contrast display, identical to the one on the Sixty Two, is very readable even at extreme angles.

Out of all mixers I’ve seen at the BPM Show, the Rane Sixty Four intrigued me the most – so when I got back home, I quickly found myself browsing the Rane website. As with the Sixty-Eight, the most prominently advertised feature of the Sixty Four is its two USB ports which simplify changeovers for Serato DJ users: all you need to hook up a second computer is a USB cable. This is very cool, but we’ve already seen that on the SL4 and the Sixty-Eight – so what benefits are there besides club installations and hassle-free jam sessions?

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After studying the manual back to back, I decided to contact Rane directly because I had some really specific technical questions about working with two machines. Despite my honest effort to keep it short, I still ended up with an essay’s worth of text, so I fully expected any support person to make this beast of an e-mail disappear and blame it on the spam filter. To my surprise, however, they responded quickly and left me with little to follow up on. Within 3 days, I knew everything I could’ve possibly wanted to know – and I can safely say that was a first as far as support experiences go. Hats off, Rane.


The Rane Sixty Four driver installs in a breeze and comes with a straightforward control panel. The settings are stored in the internal memory of the mixer. You can choose the mix record source, switch between mono or stereo for the master out, adjust the audio buffer size, control filter resonance (for each channel independently) and change effect settings. The mixer can also both send and receive MIDI Clock. In addition to that, it’s possible to bypass the default button lighting behaviour – a welcome option for MIDI mapping nerds who want to create their own visual feedback. When the analog channel inputs are switched to phono level (using the physical switches on the back of the unit), it’s also possible to adjust their sensitivity to match the output of the carts you use.

On my machines, the audio buffer was set to 96 samples by default, resulting in 8ms of overall latency. This surprised me a little because I always assumed the audio buffer size had to be a power of 2 (64, 128, 256, 512 samples and so on) for optimum performance, but apparently the Rane driver can handle odd values with ease.

Of course, I had to do a little stress test to evualuate the stability of the unit – but I couldn’t trigger any noteworthy errors except for one barely noticeable dropout related to external FX sends which was not consistent and therefore very hard to reproduce. Considering that the Rane Sixty Four has just been released and is yet to receive its first driver/firmware update, that’s pretty amazing. Connecting and disconnecting computers from either USB port while messing with audio device settings, changing channel assignments etc. produces no audible clicks, dropouts, spikes or any other glitches whatsoever.

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Each of the four channels comes with LED level meters and an input selector at the top. This allows you to assign the source to either of the two USB ports, the physical input corresponding to that channel or the aux input. A green LED labeled “control” located directly underneath tells you which channel the corresponding MIDI control strip is currently talking to – more on that in the next part of the review. Then there’s your standard gain/3-band EQ/2-way filter section, plus a slide switch for selecting or bypassing crossfader assignment and two buttons controlling FlexFX activation and PFL. Speaking of PFL, the Sixty Four has a split cue function for those that may need it. Nothing out of the ordinary here, just a really solid mixing section – everything is covered.

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The Rane Sixty Four also has two mic inputs with basic mixing controls – one with optional phantom power and one that can be switched to line level. Combined with the aux input (RCA), a hardware FX loop and session in/out ports (both RCA and S/PDIF), you’ve got a lot of connectivity options at your disposal.

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The Sixty Four has two identical MIDI control strips on either side. Those are assigned to channels 1/3 and 2/4 respectively – their function depends on what the corresponding channel is doing. If it’s a Serato DJ channel, the MIDI control strip provides basic browsing/loading controls, an encoder for adjusting auto-loops, a loop button, a looproll button, a slip mode button – and finally, the dreaded sync button. This has been the subject of way too many flamewars, so let’s not start another one – it’s here, deal with it. I won’t deny it’s pretty useful when you need to keep more than 2 decks in check, and beatmatching is such a basic DJ skill I couldn’t care less if it happens automatically.

Located underneath is the MIDI trigger section, giving you four layers of four buttons with two banks per layer. When used with a Serato DJ channel, the factory mapping allows you to trigger hot cues, loops and samples in the SP-6 sample player, depending on which layer is active. Two of the four available layers are locked to the factory settings, the other two are remappable without affecting the rest of the functionality.

When the channel receives audio from another program – like Ableton Live – the control strip is freely mappable. In practical terms: if you work with two computers, you can easily switch between controlling programs on either machine without having to overwrite the default mappings.

In addition to the control strips, every other knob and button on the unit can be MIDI mapped as well. If you work with Serato DJ, you probably won’t need this very often as the factory mapping already takes care of most functions – but if you don’t have an additional controller for tweaking FX parameters or controlling transport, having even more controls at your disposal can come in handy. The mic section, which often goes unused, can be bypassed and used for MIDI control only. If you do that, you’ll sacrifice MIDI control for button lighting – but that’s tolerable since this section only has four buttons. At this point, it’s not possible to send MIDI to both USB ports at the same time – but that’s not that big a deal, as I guess most people won’t have much use for superknobs that control things on two computers simultaneously. In fact, the way this currently works makes more sense. You can toggle MIDI control between USB ports A and B with a dedicated button located in the master section. That reduces the likelihood of creating wrong/double mappings by accident.

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The FX section doesn’t look too impressive at first glance – here’s what you get: a high pass/low pass LFO filter with an adjustable sweep phase, an echo with optional low cut and infinite feedback (which can be abused as a simple looper, perhaps best demonstrated by DMC Online World Champion Jon1st in his winning routine on the Sixty Two which has the same effects), a flanger with positive and negative feedback, a regular phaser plus robot (a crude pitch shifter) and reverb. I have found little use for robot and reverb because their software counterparts sound a lot better – but that doesn’t really matter. The effects engine is capable of things that make up for that many times over.

Besides manual tap-in, the FlexFX unit can receive BPM from either of the two USB ports and syncs to Serato DJ when effects have been activated for a Serato DJ channel. The BPM clock can also be locked down to a specific source. The resulting timing can be adjusted in 1ms increments, so if the Rane Sixty Four’s internal FX timing presets are not enough for you, you can just pick something inbetween manually and PFL to make sure you’re getting what you want. In addition to that, the mixer automatically broadcasts its BPM clock signal to both USB ports (activate clock send & receive in the driver control panel). If you’ve ever tried syncing Ableton Live to Traktor between two machines – let alone two Windows machines – you know it can be a real pain. I’ve tried to achieve this basic thing for quite some time, but in the end, bypassing BPM clock entirely and beatmatching by ear always proved more reliable than anything else.

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Until now, that is. The Rane Sixty Four made every problem I’ve had with getting two machines to sync up disappear – slaving Ableton Live to Serato DJ worked the very first time I tried it and every time after that. Unfortunately, I can only speculate as to why this mixer outperforms every virtual and physical solution I’ve tried so far. Two laptops with completely identical system specs allow me to run the Rane Sixty Four at the exact same settings, so I’m testing under ideal conditions – but I guess sending clock internally makes a big difference.

Whether you’re jamming with a friend or going back and forth between a DJ set and a live set on your own – it’s no problem at all, the BPM drift is barely noticeable. You can even re-trigger BPM clock directly from the FlexFX panel; it will also restart the clock for the internal effects. The important part is that once everything is in sync, it stays in sync.

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Now let’s take a look at how the send/return routings work. Besides a standard external FX loop for hooking up hardware FX units, the Sixty Four has two software FX inserts, one for each USB port – available for every channel. Let that sink in for a second: you can actually send the sound from any channel through the send/return of either USB port. In my rig, that means I can apply Ableton effects to sound coming from Serato DJ and vice versa – and they’ll always be in time because of the clock sync, too. As mentioned before, I haven’t been able to produce any pops, clicks or glitches – and most importantly, there was no audible delay whatsoever. I’m pretty sure the Rane Sixty Four is the only mixer out there that makes this degree of creative sound mangling so incredibly easy. I can imagine you thinking “okay, this guy’s just writing an elaborate ad for Rane” right now – well, just try to imagine the trouble you would have to go through to achieve similar results with traditional methods and you’ll understand my enthusiasm.

The cherry on top is, you can chain internal FX with external and software ones as well: the signal flows from the mixer’s internal FX through the external loop and from there to the USB inserts. Here’s a basic example: activate the LFO filter, then treat it with a dub delay from a kaoss pad and finally, add a reverb in Serato DJ or your DAW of choice. You’ll hear the effect of the mixer’s LFO filter in the tail of the delay coming from the kaoss pad, and the software reverb on top of that. Mind = blown. The signal always returns post-fader, too, which is great for delays and reverbs.

With all these features, the possibilities are practically endless – the only downside is, you have to own two computers to take full advantage of them. You can’t hook up both of the Sixty Four’s USB ports to the same machine, the driver won’t handle it. Still, I can imagine using something more affordable like a mac mini as a dedicated FX processor, looper, mix recorder – or all of the above. Set it to boot directly into a live set containing your FX chains, hook up a small MIDI controller and you’re in business. No hardware effects box out there can compete with that.

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People keep asking about The Bridge, and I would like to see it become a part of Serato DJ sometime in the future as well (read this for the status at the time of writing – Ed). The Sixty Four’s 22-channel audio interface could handle it easily. But let’s be honest here – Mixtape is the only feature we really want, isn’t it? Because integrating a tiny bit of the Ableton GUI into your already crammed Serato window isn’t really that amazing, especially not on small screens – otherwise more people would use it. The capabilities of the Rane Sixty Four allow you to integrate Serato DJ with Ableton Live so seamlessly, they essentially make everything but Mixtape obsolete. Yes, you need two machines – but if you’re going for a complex live/DJ setup, you’re going to need them anyway.

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There is no such thing, of course. To me personally, however, the Rane Sixty Four is by far the best 4-channel DJ mixer you can get for money right now. Everything about this unit screams quality and it delivers beyond any doubt – but a few things could’ve been done better. The default channel assignments make sense, but a fully flexible input matrix would be nice. I’ve already mentioned that the line faders are not magnetic – this is probably why their behaviour is not as tweakable as on the Sixty Two. You can adjust their curves, but not independently – and it’s not possible to reverse them either.

The Rane Sixty Four has an excellent display, so it should be possible to have it show some more info from the software when no effect is active – loop/roll size, for example. Any reason not to look at the laptop screen is welcome. Finally, while sending MIDI clock between two machines works flawlessly, there is no internal MIDI bridge that would allow you to send notes and control changes from one machine to another – but if you really need this feature, two USB-MIDI interfaces won’t hurt your wallet too much.

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Because Rane manufactures in the United States while most other brands outsource production to Asia, the mixer can’t really pass as “affordable” – but even with that price tag, you get what you pay for twice over. Having used Traktor since its conception, I wouldn’t have thought I’d ever say this, but I honestly don’t miss anything at all when using Serato DJ. Tempo-independent key adjustment would be nice, but I’m sure they’ll get that done in due time; there’s already a pitch shifter in the “Chip” effects expansion pack. Of course, as I said in my NS7 II review, from a controllertablist’s point of view Serato DJ is not quite there yet – mostly because of its limited MIDI mapping. But it’s steadily catching up with every update, and the Sixty Four’s additional capabilities closed the deal for me.


  • Two USB ports with individual FX inserts
  • Supreme build quality
  • Flawless software integration
  • Flexible audio routings
  • Customizable MIDI controls
  • Stable MIDI clock output


  • Non-magnetic line faders
  • No internal MIDI bridge
  • No fully-featured input matrix


Here’s my final verdict: if you’re looking to step up your tech game or just buy something future-proof, you should definitely give the Rane Sixty Four a serious go. It opens up a world of possibilities in a way no other mixer can currently keep up with.


Ray About Ray

Professional gear hoarder with no scratching skills at all, and a bunch of championship wins nonetheless. Hates #realDJing so much, his Twitter handle is @unrealDJing. Can beatmatch records, but still pushes SYNC just to annoy you.

  • DjVertigoMTL

    Very nice review!

    • thank you!

      • gfella


        Nice write up, however not a single word about the soundquality this mixer produces.
        To me this is one of the most important features of a mixer.
        I own a Sixty Two so I know how good they sound, did you forget to mention this or is this not important to you?

        • It’s a Rane, thus it can be taken for granted that it sounds amazing. Speaking personally, I find that in this developed and mature digital age, even at the low end everything sounds at least good. And if there were any issues with sound, I’d raise concerns in a review. It’s a good point though, and I’ll make sure that it’s always covered in the future.

        • What Mark said – but for the record, sound quality is very important to me and I’ll remember to elaborate on it next time even if it seems a little obvious 🙂

  • na_non

    Excellent review! thanks

  • Onno Suave

    @ Arkaei – Nice Review!
    @ N.I. – please, please, please, build us an ÜberBeast like this for Traktor!!

    • Bart

      The überbeats is called Xone DB4 + 2x K2

      • Sorry, but from my point of view (Hip-Hop DJ / Turntablist) the Xone DB4 + 2xK2 (even though they are fantastic products) would take up to much space and don’t compare to the 64 (faders, fadercurves, midi on the mixer etc…)!

    • sup_shlom

      For 2190€ NI could build you whatever you could imagine. I mean where is the point, to glorify a mixer that is so ridicioulusly expensive. Same for praising the rane support in this case… “Hello this is DJ worx… I want to do a review of your mixer and I have some questions…” As if this represents real customer service in any kind of way 🙂

      • If N.i. were to build a “upgraded” version of the Z2, with all innofaders php (no minis), fadercurves and reverses for all faders more metal / less plastic (f.ex. the potistems), two sound cards / usb-ports, hardware efx etc. I’d gladly pay that price for it!

      • When I approached Rane about this mixer, they didn’t know I was going to review it (even I didn’t know at that point – it happened much later). I talked to them as just another customer, so my support experience was as authentic as can be 🙂

        • sup_shlom

          So did you write to them incognito or with a email address. That’s what makes the difference 😀

          • I put Ray in touch with the right people at Rane, and they worked through his comprehensive technical questions. Ray bought his Sixty Four for his own use completely independently of DJWORX, after which point I asked him to do a review, because I knew he’d do one of a quality that people have come to expect from us.

            • sup_shlom

              I don’t want to be nitpicking… but this makes the whole “Support” part not universally valid and biased. You should mention stuff like that before publishing…

              • Oh well. Can’t please everyone, but we do please most who trust our reviews. I hope you can take something positive away from the review – you will not read a better one.

      • As far as being expensive goes, the Sixty Four essentially comes with a SL4 version of Serato DJ, which on its own is 868 Euros at Thomann. I’d also add to this that Rane mixers are considerably more expensive outside of the US because of shipping and taxes.

        And we can all guess at what NI would do, but they aren’t. So until the time that they come out with a DJM or Rane killer, you’ll just have to stick with what’s available.

  • Scott Campbell

    If only the Serato DJ software worked as well as the glowing review of this mixer. I have been a Scratch Live DJ for years and have come to love the software and it reliability. Unfortunately as of now SDJ is not fit to even be used at my house more or less at a show. I can not even get it to load with out crashing. So as of now using my SIxty Eight is only a far fetched dream. My Macbook is WAY over the minimum specs and still like most others I have seen posting on the forums there are way too many problems with the software to make the Sixty Four run correctly! IMO Serato rushed the implementation of SDJ without truly taking the time to work out the kinks and build something as respected and reliable as Scratch Live.

    • I’ve read several complaints about the performance of SDJ on macbooks and it surprised me a little, because it’s not like they’ve got to optimize for thousands of different hardware configurations as is the case with Windows machines. Unfortunately, I only own a very old macbook (the black 13″ one) so testing on that one would’ve made no sense I think. The PC version is ridiculously stable on W7/64 SP1 though.

    • steve brown

      Glowing reviews ate the only kind thay get published…:/

  • Sonic Surfer

    I have a Sixty One, and use SDJ with Ableton. I do not care about The Bridge (except for the mixtape). I do however miss a in/ out midi clock to sync it all up. Currently this is only possible trough Sixty Two and Sixty Four.
    Why not incorporate a midi clock in Serato DJ? It would make it possible to use this astonishing software alongside with external drummashines, DAWS, sync up with friends ect.

    • I agree. You should contact Serato about it, the more people request a feature the more likely it is to get implemented eventually.

  • Rus

    Rane says they do use a magnetic crossfaders

    • So did I. The crossfader is magnetic – the line faders are not 🙂

  • tsutek

    Just wondering what you mean by “Z2 wasn’t hackable enough” – Care to elaborate? I know that the LCD displays cannot be controlled via MIDI, but what other restrictions are there?

    • The Z2 is an excellent mixer considering its price tag and seamless Traktor integration – and like all NI units, it works perfectly when you use it as intended. Straying from the factory mappings, however, is often needlessly complicated. At the time I was using the Z2, you could only make custom mappings by starting from scratch and sacrificing HID control entirely. I know they improved that later on and you can override selected parts of the factory mapping now. I’m also aware of the fact that you can adjust the line fader curves by calibrating them wrong on purpose, which is a cool easter egg. However, I expected all of this to be implemented when I bought the Z2 – and eventually, it became a deal breaker for me.

      Even after the much needed fix from NI, there are some issues you can’t get around when working with additional controllers. I’ll give you an example: I have a performance mapping for two Electrix Tweakers designed with 4-deck hot cue mashing in mind. It has an “instant drop & solo” function which basically silences all decks except the one I’m currently drumming on. Only I wasn’t able to activate soft pickup (or “takeover” as it’s referred to in Traktor’s mapping window) for the Z2’s line faders. In fact, I just checked with NI support and it’s still not possible.

      Soft pickup means that when a software control element no longer matches the hardware control element assigned to it, it will not update until the hardware control is moved to match the new value first. So when my mapping turned the volume down and the corresponding fader on the Z2 was still up, without soft pickup all it took for the volume to turn back up was a slight vibration – either from the sub, of from me hammering down on buttons.

      That’s what I mean by “limited hackability” – when you know exactly how to achieve a certain result, but you can’t because someone decided you wouldn’t need to. In a way, this “closed” approach is very similar to what apple does with their stuff – but it’s good enough for most people.

      • Phatbob

        I agree with much of what you say in your review arkaei, but to say that ANY Serato DJ product is somehow more ‘hackable’ than any Traktor one is a bit bold, I’d suggest.

        I’m curious as to how you’d approach mapping anything even close to that ‘drop and solo’ functionality in SDJ, for a start. It might not have worked perfectly for you, but at least you had the option to come up with it in the first place.

        • I wouldn’t bother to be honest, because when I combine SDJ with Live I can do things that go way beyond a 4-deck button mashing routine or anything else I can do with Traktor and its remix decks. Controllers like the Push or the Launchpad are better for that sort of thing anyway, because of the flexibility within Live and the sheer amount of BUTTONS.

          That doesn’t mean I don’t use Traktor anymore – no way, I’ve basically used it since it came out. When I want to DJ using a custom-mapped controller, Traktor is still king, because it still has the best – albeit unnecessarily complicated – mapping system by far. SDJ doesn’t even come close, it’s just that controllers like the NS7 leave very little room for improvement and I like playing with them.

          If you look at the feature set at my disposal now – a DVS equipped with Pitch’n Time combined with Live which allows me to slap DAW effects on top of tracks coming from the DVS and DVS effects on top of my liveset, and sample directly into Live from any source I want… I really don’t miss anything except flexible key adjust. That’s a small price to pay.

          I’ve said it before, I’ll say it again: there is no perfect mixer, no perfect DAW, no perfect controller and no perfect DVS. Just use what you like. At this point, what Rane and Serato created works best for me, but I’m pretty sure NI are working on something too.

          • tsutek

            Thanks for the clarification.

            • Thanks for pointing it out. It does come across like I don’t like the Z2 very much, but in fact, I do – it just wasn’t enough for my use case.

  • Thomas

    “Someone clearly spent a lot of time looking for the perfect “click” on every little bit of this mixer”

    Sorry but at this price point, the buttons are just pure shit. Same with the buttons on the Sixty-Two.
    The response, the size, the click, the reliability, everything is wrong about them. Ask DJ Yoda who managed to press four (!) of the buttons to the inside of the case in a four day Germany tour with his first Sixty-Two. I already had to send in our Sixty-Two club installation mixer twice to Rane Germany to repair the buttons after several of them where pushed to the inside of the case. In a period of a couple of weeks of usage…
    Last time was after legendary DJ Scratch pushed in two of them. I just set up the mixer for him since I am back to a Pioneer DJM 900 for the standard installation club mixer, since it breaks so fast. The Rane Germany customer support works great and the turnover is very fast but come on, at this price and with Rane’s knowledge, especially after their experience with the even more shitty buttons on the TTM-57SL, these buttons are just ridiculous. Look at the Z2 and what it does for the price.

    • I can only speak from my own experience with a piece of kit I review, and my experience so far has been very convincing. Tactile controls are a matter of personal opinion – everyone likes something different. I like the rubberized buttons NI use, but I also like the buttons on the Sixty-Four. If I manage to break them – and believe me, I have a pretty good track record when it comes to breaking stuff – I may change my mind.

      • There’s always the option of adding a rather more sturdy external controller if MPC style pad hammering is called for.

        • sup_shlom

          There is always the possibility to add more equipment for more $$$… but an 2000$+ piece of equipment that is reviewed as an “fully integrated solution” should withstand a lot of button pressing. But arkaei should follow this and do an 3 months follow up review, this makes equipment reviews so much more significant!

          • I’ve got one in the Worxlab too, so it’ll be interesting for me to follow up as well.

            • Darren E Cowley

              My 62 was an early one, and barely any usage has seen the first couple of buttons pushed back in their casing, really interested to see whats changed…

          • I’ve had the Sixty-Four for 3 months now, but you can always hit me up on Facebook – – and ask how it’s holding up. I’m not gonna sugar-coat anything, that goes against my principles. My performances can be bought, my opinion can’t 😉

    • Zach Stone

      The caps were a problem in the earlier versions of the 62 and 64. This
      has since been fixed by using a new cap that has an incredible amount of
      flex. Since we (Rane) have been adding these to mixer we haven’t had a
      single one come back for repair.
      The response time of the buttons
      are extremely precise. I think the only complaint anyone may have at
      this point is the caps aren’t rubber but that is more of a preference
      than a problem.

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  • radikarl77

    ” Yes, you need two machines – but if you’re going for a complex live/DJ setup, you’re going to need them anyway”

    I think thats not true if i understand the video linked below correct.
    The video is for machine, but the same should work with Ableton.
    This is of course only true on Macs, because unlike ASIO, Core Audio drivers are multi-client.

    • radikarl77

      also, i tend to be that guy pointing at the one thing that might not be entirely true in some edge case. no offense tough, the review is very well written. credit where credit is due. great job arkaei

      • All good man, every opinion is welcome. I learn as I go. Cheers!

    • I agree that you can do it on one computer, but when I say “complex live/DJ setup” I mean a little more than syncing Maschine and playing a pattern in sync. If you try to do the same thing with a fully loaded 8 bank Maschine set containing plugins and effects or a proper Ableton Live set with lots of live synth and FX tweaking designed for 2 hours of fun, I assure you one machine won’t handle it. You’ll have to crank up the buffer size so high, the DJ part won’t be much fun. If you work with bounced stems of finished tunes, you should be fine for the most part, but I don’t work like that. To me, every live set has to be unique – because when I go to concerts, I want to hear more than the album I’ve got at home.

      • Darren E Cowley

        Whats your experience so far of CPU usage in replicating the Ableton Serato Bridge with just Audio Clips? Got some heavy max4live stuff going on in my setup but i’ve got a decent processor…. Awesome review!

  • gfella


    Sorry for posting this twice but I placed my comment down below so you might not see it.

    Nice write up, however not a word about the soundquality this mixer produces.
    To me, this is one of the most important features of a mixer.
    I own the Sixty Two and now how good these Rane mixers are sounding.
    Potential buyers would like to know this I think.
    Did you forget to mention this or is this not important to you?
    Just curious.

    • CutSelekta

      no sound coming out of the mixer, strictly build for visuals, the more lights = the better the mixer. less lights = crappy gear…welcome to the light age ma ace

      • gfella

        Why sarcastic?

    • No worries. As Mark said, with a Rane mixer it’s kind of obvious (that’s why I didn’t spend too much time on the crossfader either) – they couldn’t get away with anything but excellent sound quality. But for the record, this is very important to me and I’ll remember to elaborate on it next time 🙂

      • gfella

        Fair enough:)
        Besides that, very good review.

  • Darren E Cowley

    Possibly the best review i’ve ever read thats likely to cost me £2k…. Thank you!!

    • CutSelekta

      2k just to mix a couple of mp3s together? but i must admit it will save you electricity as you won’t be needing to light up the house anymore..

      • We know you’re a 2 turntables and a basic mixer kind of DJ. But for a growing number of people, that’s not enough. You might see 2 channels 2 many and a bunch of buttons you won’t ever use. But rest assured that the likes of arkaei and Darren E Cowley will push all the features to the max.

        • CutSelekta

          I still believe the only thing a DJ needs to do is mix 2 songs together and perhaps scratch a bit, that’s it. The general audience most of the time wants to hear the originals being played without a DJ remixing and pushing buttons making it almost unrecognizable. The only people who want that to hear that are DJs themselves or enthousiasts a minority.

          Buttom line, mostly DJs are interested in what other DJs do, The audience just want to hear familiar tunes mixed together preferably played to to end without interruption wich can be achieved with the most basic gear. imo more is often less.

          • Paco Loco

            I agree with you.
            But this mixer clearly isn’t aimed at you or I.

          • Just_da_damaja

            the general audience loves hamburgers.
            a select few of us love filet mignon.

      • Darren E Cowley

        Ha, if i stopped at mixing mp3’s then i’d have given up years ago…. The only lights i need are the target lights of the 1210’s!

        Can’t wait to get my hands on one, must get my 62 fixed first!!

        • CutSelekta

          i happened to have target leds with resistors up for sale in yellow white and blue, the blues are my favs

        • Mark

          Fixed? That’s what’s wrong with Rane and their very made as Shit mixers! They need to go back and make something good before they lose the name overall rep!

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  • Abe Garcia

    I love this mixer it feel great it looks great is awesome i got it for $1200 new! and I’m a happy camper i must say here is a pic enjoy

  • Jorgelectro

    Have you got the chance to compare the sound of the souncard to the sound of the NI Audio 6 or 10? I think this mixer is closer to what I am looking for, but I am afraid of getting the same average sound that comes from these mentioned interfaces

    • I used to own a Z2 and still have an Audio8… in direct comparison, I would say the NI stuff sounds a bit more “metallic”, for lack of better words. But you absolutely have to try such stuff yourself – it’s really a matter of preference, and I may be a little biased having worked with it for over a year now.

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