but you cant deny its going to make Big sound

I wonder how it will sound vs. a 92 given that its digital?

Like the EQ and filter section. Input Matrix is helpful. Looping looks amazing. Phase control on the outputs of a Dj mixer is a bit dangerous though!! Thats an engineers job. Yeh pretty sick mixer . Way to much effect nonsense for me though. Guess they gotta cover all angles. How much ????

some where around $3100

I actually like the fact company's are putting a bit more effort making great mixers, I just got myself the DJM2000 last week, and I really think EFX are important, but just when you get to have 'em in an 'organic way' i think Pioneer cut it pretty sweet this time, the DB4 might have something to show in the end, but at that price and features versus the DJM2000 I think it will loose the market battle, how about selling them cheaper so you can sell out more instead of sell a few at a LMAO prize.

After watching a demo video by A&H on youtube the thing actually looks really impressive. Especially like the EQ/Filter options and internal looping (combined with the fact that you can assign any input to any channel through the input matrix). £2k is too steep for home use though.

Missin the 4-band EQ like on the 92

pretty expensive bit of kit although A&H equipment is amazing

this controller with the ni traktor s4 software - wet dreams^^

can somebody confirm the db4 is fully digital, including the mixer/eq section?

@dumdidum Yes it is fully digital, every control (bar a couple ie headphone pot etc) being MIDI assignable. The FX are out of this world as well

i would love this thing. it does indeed look like the dog's. just too expensive. makes me laugh at the whole pioneers are shit cos theyre digital routine from all the 92 lovers. get over yourselves. the 92 is an awesome mixer. so is the 800. ive used both and honestly i couldnt pick between them. 1 day i prefer 1, another day prefer the other. looks like the db4 does the lot. i really want 1 !!

Would love to have a play on this, but I would definitely have to compare the sound out of this with a 92 or 42 as the change to digital concerns me

I must say it does look cheap, but the insides sound dam good. Still on my 800 wanting to get a Jazz Mutant Lemer???

Hmmm. Funny how everyone pauses on the price. The sheer breadth of the DB:4's functionality couldn't possibly be achieved with several separate pieces of equipment that would no doubt cost far more in the long run.

There's no doubt that it'll also be waaay out of my price range but nevertheless, I still think it offers good value for money. The asking price for a CDJ-2000 for instance isn't.

why they haven't add the second mid to their latest mixers ?

its an amazing mixer!!!

I got one the other day and what I can say is that the effects are way better than Pioneer's. The Dry-Wet needs to be on Dry before switching effects on one channel but there are top quality Reverbs, Delays, etc. onboard.

And the sampling roll is actually 4beat x 4 bars not 4 beats by 1 bar like on the Pioneer's. No I'm not beating up Pioneer...I'm pointing out the differences.

Color scheme is way better than originally depicted and looks hot in this light.

The color changes activated by the switch that changes the mode of each channel's shared Iso/EQ/Filter knobs is very helpful in the dark because you con't see anything on the deck except lights and the different light changes help you remember what you are modifying..but....in UV it should be good like the 4D???

I don't have a UV light at home but will let you know once I do.

I think the currently unused X-link port may offer further midi control over network connection separate to how DB4 currently handles midi over USB.

This is not mass produced mixer, it's built by hand, all in the UK and A&H are onto something that may not be fully realized by those who gawk at price and gripe about 4-band EQs. It's currently the bad-ass of professional mixers and offers features far superior to it's competitors on the market. So read up or demo it - the dual filters + ISO + effects and onboard individual channel looping offer greater sound shaping well beyond the conventional flagship mixer standard.

One of the most un-talked about features of the DB4 is the four bpm read-outs that show up in the channel effects window. No you can't use it blindly but yes, it's a beneficial feature for those who work with analog sound sources which can't be sync'd by a midi clock.... specifically, with vinyl! DB4 users can see the tempo information in the same area without having to switch the channel like you do on a Pioneer (it's all right there in the effects window so that you can execute effects and loops on time with the other tracks).

Also, I'm experimenting with this one but have to pass on that the duplicate channel selector switching only allow pick up on the original pre- 'live' input source and cannot double touch on a internal post 'capture' such as a loop or effected playback of the original source. In other words, if two or more channels are selected to one sound source and one rolls a loop of the original, the other selected to the input can only grab what is coming in at the physical plug and not what is bouncing around in the mixer. You can do a trick by playing the live audio on its original channel, grab loops and add effects on the other channels (like during a break) and ride the original until it returns or be skillful, stop the original source, back it up and cue it up to throw back in when you are done with the captures.

IDJ reviewed the DB4 this month...

New trick and I have to thank Mixarchitekt for giving me this one that I hadn't thought of which he says it was given to him by Mr. Rigby-Jones, himself. Originally posted from mixarchitekt on the Native Instrument's Traktor DJ controllers area topic for the Xone DB4: "here's another freaky trick that mr rigby jones hipped me to a while back - take an RCA lead and connect it from the recording output to an input channel. bring up the channel fader of what is receiving the record output, adjust the gain, and let the feedback loops begin. especially cool when using long reverbs or delays on the feedback channel. plus you can assign the record send to output the cue so you can selectively feedback a channel you're monitoring on the cue bus. and if you haven't gotten into millisecond mode delay, try it immediately! you can shift modes on any effect engine by holding the DLY button, then press fx time. you'll see the intervals changing in ms now, and you're no longer stuck on the grid."

I also have to add that unlimited resampling capabilities are now possible. Think: You "grab" loop the realtime EQ/Filter/FX changes and play it back on the other channel. Before adding the cable, the DB4 only allowed you to use the pre-EQ/Filter/FX signal which is great because you can add different effects and loop versions but you couldn't grab the "realt-time" changes made during the first recording pass that made the loop (like you can on a Pioneer). The DB4 doesn't work that way...it allows you to loop and shape continuously on the dry loop but the cable allows you to grab the post version which you can now resample and do things like take out the bass, ISO beat the bass, add fx and a filter out all the way through to the end of the 1st loop record pass on the tricked channel...It will now play out of the tricked channel with all of the changes and you can still shape that even further since all of the channels can select the tricked input you can just chain and chain until....it's on fire.

OK, may'be going "on and on" with this trick isn't wise because theoretically, the "grabs" could go on to infinity but let's just say it's an "unlimited" capability.

(BTW, you really don't need the RCA record out anyway because the USB can stream the mix)

Thank's for the feedback loop tip MoMo, got some nice results with the fat Q delay's and the band-pass filter's.

Found myself spinnin more vinyl now i have the DB4 which is a big bonus getting those vinyl only releases and diggin through my vinyl collection has been a joy when you come across a tune you forgot about.

Look forward to hearing more of your DB4 experiences.

Thanks. Although we are not the only ones using it, the constant information sharing helps people realize the true potential of this mixer. It's all too easy to be turned off by the price and look towards cheaper and more popular alternatives that simply can't do what the DB4 can. For me the features currently make it the one mixer in a class by itself.... 5 years from now who knows what we'll have and where the mixer standards will be but, this is groundbreaking. If today you overlook this mixer by price thinking that the 900Nexus or DJM-2000 can do the same or better, fuggeaboutit!

I have no beef with Pioneer, I've used their mixers for years and last had the DJM-2000 I've now sold after getting the DB4. I still love Pioneer's CDJs but can't fully use them in this set-up until Advanced HID is fixed. Meanwhile, the DB4, all by itself, is shining "in the darkness" with just Traktor alone. The ability to mix, control decks with just a premium laptop, organized quality digital tracks and headphones is just unreal. This mixer is already primed to reach an unbelievable level of mixing capabilities without any need for any physical decks or waiting on software fixes by NI and Pioneer. Additionally, the midi control template for Traktor created by Mixarchitekt makes you care little about the new sample deck features included in the current version of TSP2. The tsi file allows you to focus and get loose with 2 decks (up to four decks) in ways like no other mixer can. Simply playing and shaping through the mixer with direct looping control is more practical and effective for a the blend type mixing.

I've also been using the Maschine hardware that is set-up with the tsi file DJ Endo created for the 4-decks back in TSP1. I was hesitant to use another controller but quickly realized that the mapped 4x4 pads on the Maschine allow you additional deck control while using the DB4. TP2 and Maschine users are supplying new tsi mappings for control over the sample decks but right now I'm satisfied with using the mixer's features that even ignore Traktor's effects as well. My approach to using the expanded "mix" capabilities of the mixer may be conservative but it reasonably allows some digital deck wizardry I could not achieve with physical decks. What can be achieved by using simply two digital decks (DB4 chan1-Traktor Deck C & DB4 chan4-Traktor Deck D) allows me to keep DB4 channels 2&3 open for analog sounds inputs such as vinyl that I too, continue to mix with on this mixer as well (mix example) but....


if anyone tried this set-up they'd see that the "sum of differences" positively favors mixing all digital. I have resumed digitally mastering some of my newer vinyl-only tracks and will start digging back in the collection to transfer those "timeless gems I'd like to use in my sets with this new set-up that really no longer requires me to play them on physical decks. I find that there's really no real need for decks but I do desire "hands on" and will add that if CDJs were working with Advanced HID in Traktor that would be ideal and there'd be no stopping me. I do wish that timecode control existed with the DB4's sound card but vinyl wouldn't be ideal because it's subject to the same vibration and needle pick-up issues causing latency drops and is almost weirdly "too much?" like using real vinyl and dependent upon phono decks to be there at every gig. Currently, Traktor Pro 2 controlled by DB4 with Maschine is great until the CDJ Advanced HID is fixed.

(DubFire was/is doing this as well)

Having the Maschine controller alongside the Db4 gives you the comfortable set of 4x4 mapped pads that you can focus on while not in midi mode (on DB4) or simply it just adds deck control in different ways complementary to both sharing the control. Things like setting hotcues and jumping back and forth rather than using the smaller mapped channel FX buttons on the DB4 put you at ease. I have to state that I was a bit hesitant to re-introduce the Maschine controller back into the set-up because of the anti-controllerism social issue but it simply makes sense. To the adverage onlooker, the DB4 is kind of stealth in appearance about it's midi control capabilties and what it can do with digital DJ software but eventhough Maschine use draws out the haters....i'm comfortable knowing that using both allows the ability to do more and the DB4 tsi Mixarchitekt created helps glue the whole thing together: I can search, launch, loop and shape from the DB4 and only use the Maschine for deck specific functions like hotcues and jumping.

You can still do it all with CDJs, vinyl, programs, hardware, and other sound sources but working with finished & mastered digital tracks becomes more than just mixing or "pushing buttons".

Like IDJ reported "Once you get your head around it, you realize it's the most comprehensive" (mixer) on the market despite the current lack of timecode "Scratch certification" support it would need to use timecode discs without an extra NI sound card (that stupidly blocks out use of the DB4's sound card). Make no mistake, the DB4 is feature-rich and complex, so people have to spend some extra time getting to know the particulars. using it with Traktor in sync mode is easy but will not make everyone sound liky know what they are doing. You aren't matching tempos manually and riding the pitch on decks like the old days but this is not the only way to mix.

When the ability to use Advanced HID with CDJs gets fixed (likely long before the "Scratch certification" materializes for DB4) the CDJs will replace the Maschine controller if I haven't moved onto something in the form of a hardware unit like a Rhizome for hosting the live stuff.

Always been a big A&H fan, would love to have a go on this. Though Im not a big effects user but after watching all the vidz online they look very high quality and certainly better than the DJM series effects.

Like many others, I would miss the 4 band EQ on previous mixers was a big plus for me and its a shame they have missed it off this mixer.

A&H have always has a very good reputation for sound quality, anyone had chance to do an A/B test with a 92?

At some point I'm going to hit a personal comment limit but I have to state that in using it, I don't miss a four band EQ. The three switchable modes turn those three knobs into EQ/ISO/Filter shaping options which give you more cut, boost, and band isolation shaping capabilities than you'd initially think just by seeing it's only a three knobs instead of four. Believe me, I can't convince you...but four band EQ standards have been exceeded with the "three" available knobs on this one. "Don't forget that in the effects there are more Pro-quality modifiers that do more too.

They've really thought this one out and kept to quality so it's not the average run-of-the-mill three band option featured on basic mixers that don't use four bands. The highlight is the ISO which I tend to use more than normal EQ because it simply cuts through the bands the way the add-on Isolators units for quality rotary mixers allow you to.
I can't really compare it to the 92s because obviously the individual channel sound shaping, effects, looping, and midi and digital heart make it different but if you are moving from a 92 to this one, then it will feel familiar but almost like having a 92 pulled out of dream.

The improved dual filters also add more shaping capability and don't pop like on some Xone 92s when you switch the bands. Plus, when compared to the 92, it's still going to be an all new digital mixer with an analog heart to use and improve things like vinyl over it's 24bit/96kHz USB soundcard too.

Check out our review here on Juno Plus

http://www.junodownload.com/plus/2011/03/01/allen-heath-xone-db4-review/

Thanks runningoutofspace I was watching some more vidz on the DB4 and was intrigued by the different options available on the EQ.

The DB4 does give me a severe case of gear lust

I've uploaded a CD quality mix to my SoundCloud account that was mixed in the studio, just few days ago with the DB4, Traktor Pro 2 and Maschine set-up I'm currently using. I'm not waiting around for Scratch Certification to materialize because it's highly likely that NI and Pioneer will fix the CDJs' Advanced HID issue first and that will allow me to physically do more with sound the way I'm heading, rather than with timecode that seems to be going in another direction. However, this set-up is working and the mix showcases the control and sound shaping I'm talking about - nothing else but using the ISO EQ option and filters (no extra effects applied or required for this mix). BTW, the mix was recorded internally into Traktor Pro 2 from the Mix output USB Send stream on the DB4 that also had the control and sound exchange going back and forth between my MacBook Pro and DB4's soundcard on one USB cable!

Discothèque Musique (DJ Mix)

nice pic runningoutofspace your setup look nice! I use a lollipop headphone as well

That one was customized by D. Meza from DUO AUDIO a few years back. It's one half of a Sony Super Audio Digital pair I had bought at a "closing-down" sale for Circuit City which I believe Meza only did it for me if he could keep the other half for himself. It may have been one of the last custom jobs he did before moving onto bigger things and I love it but it doesn't get a good pick-up with analog jacks on rotary mixers I use when working with Disco and other vinyl (before this mixer which benefits from routing digitally).

The DB4 has a headphone trim option that can bump the db up to +12db and a careful setting allows her to get that extra pick-up and sound alive like she should have a long time ago.

She's been modified by me for survival recently because some jackass at Customs opened my bag after check-in (during my last trip from USA-to-UK) and I found her with a broken arm at baggage claim. I not sure if they did it on purpose looking for something that wasn't there but I was sad for a while and then figured out a way to mend her without making her look really ghetto. Before Zomo started producing them again, Lollipops were hard to get without custom jobs. I slapped the stickers directly on her and she now looks more important and a bit more on point for the new digital capability.

Sound example of the signal re-loop matrix trick applied to Disco Re-edits

Sampled loop runs recorded while finding the grooves and parts to expand upon off a re-recorded Disco track now being played back digitally in NI Traktor Pro 2, controlled by NI Maschine 1.6 and the A&H Xone: DB4 midi. Regular channel routing of the original signal then re-routing back-in and matrix selected onto other channels re-FX feeding into the record signal on two additional DB4 mixer channels. (The master out XLR on the DB4 mixer had it's analog signal re-introduced back into one mixer channel input pairs and then two other channels selected the channel's analog input signal via the DB4's matrix routing and those two channels received Resonator and Delay effects feeding the newly effected play back directly into the recording/output path). It's like when you put two mirrors next to each other and see the endless repeat image that continues on until it's out of sight. With the audio version of this trick, you raise the volume until audible re-FX are heard but not where harmful feedback occurs.

All recorded in Traktor Pro 2 via one MacBook Pro connected to all and streaming audio between Traktor Pro 2 and the DB4 via the DB4's USB sound card.

#1 is an out of sequence disco sample looped and ran with light application of the DB4 loop trick effecting it's signal.

#2 is another part looped with more application of the loop trick effecting it's signal until a generous (almost dangerous) amount of feedback occurs (which is why it's mastered output level is safely much more below 0db).

#3 is the best example of how you can really use a little bit of feedback to work for you (two individual "tricked" DB4 channels added to the main loop, one with a Ping Pong Delay and one with Reverse Resonator effects manipulated, ISO cut of the LF (bass) were applied + and raising and lowering frequencies until I could get enough soundFX...and Low Pass Filter was applied to the two tricked channels to add and keep the feedback at bay.)

(For several reasons downloading has been disabled for these audio files. You should review these two with good quality headphones on or use an external audio system that can boost the level of #2 to the depth and clarity required to hear the hidden effects which won't be as clear to you if you listen only on computer speakers alone). #3 sounds fine and approaches danger but is kept under control and under 0db but it can become a too bit much at high volumes so beware because the feedback recorded is in near perfect example represented here - something for secondary FX to hold in check

Once you get your head around that you'll realize there's music flowing in several directions being effected three times and all captured into one recording.

This thing is GREAT. But why did they have to make all those cheap silvery buttons and bling stuff? I think it does not look nice at all.

You'd have to look at in person...some pics on the net show the concept mixer still but even with the production model pic...and user pics (like ones above) you don't really notice it as much. It's not an "eye sore" it looks great plus those buttons are llluminated from within with text cut-outs and the silvery coating is better than (may'be) a simple paint job which might not have held up over time with heat and user wear)

the sound quality on this i have heard is unreal

but need to check for myself before i decide its better than pioneer, but im guessing it probably is

Yep, it is.

i wish i could afford this, haha

looks nice, very very nice.

From my Native Instruments Traktor Pro forum posting in DJ controllers topic concerning the Xone DB4 and the discussion that may have solved the timecode issue through a very complex way:

"If you look at his set-up he's got two NI soundcards (one for Abelton/Maschine going out of the NI soundcard on the left into the Aux Line input pair.

The one on the right is actually further Abelton/Maschine full channel break-outs but what about the one on the left.
I'm thoroughly confused."

Ignore my confusion on the innerclocks thing...on another note, I had a longer 'think' about the Dubfire set-up last night and realized that if I'm right, you can use the two extra soundcards to sync the two laptops, run 10 channels of Abelton/Maschine as analog audio + get four decks of control over the DB4 analog/DB4 USB....plus you might even get timecode since you are using NI soundcards anyway.

OK, please read carefully and figure this out with me. If you look at Dubfire's set-up and roughly figure it out, he (or his roadcrew/set-up experts) may have made a model we could use to solve a few problems with synching two programs and the audio routing required to have the DB4 successfully use it's input matrix wizardry to come up with a complex but very comprehensive set-up....

OK, you'd need two additional soundcards and a total of two laptops: one for Abelton/Maschine ("Performance") and one for Traktor Pro ("DJ").

On the "Performance" laptop running Abelton and Maschine (on the left),
-Use a 10 output channel soundcard and only send the Master "1/2 out" pair directly into the DB4's Aux Line-in pair.
-On channels 3-10, send out all of the audio pairs to another soundcard on another computer's soundcard capable of running all 8 channels in "through" mode (like a Traktor 10 DJ because it has four "through" pairs).

You'll need to slave the "Performance" laptop by conventional midi cable connection at the midi-in port receiving midi from the other soundcard on the other "DJ" computer, adjust clock ticks, etc. to get it in time.

On the "DJ" computer (on the right), run Traktor Pro and use the DB4's USB Audio soundcard for routing Traktor's deck audio which are still matrix selectable by the channels' "USB" source inputs.
- Attach another soundcard (Traktor 10 DJ best candidate - because it has four throughs which will receive the four pairs of analogue audio coming from of "Performance" laptop's audio soundcard outs)
- Connect the four "through" analogue audio out pairs into the DB4's four channel input pairs. (You can switch to them by selecting "ANA" on channel input sources)
- Connect this Traktor 10 DJ's Midi out to the "Performance" laptop soundcard's midi-in by conventional midi cable.
- Adjust ticks between systems to keep it sync'd in time.
- Within Traktor, set-up a generic Midi device for the Traktor 10 DJ connected this "DJ" computer, which should show up as a selectable Midi device recognized in Traktor. (? - You shouldn't have to "gain" the 2nd Traktor 10 DJ, it should show up as a midi device, right ?) Not sure if you'd have to also set-up a basic JackOS type audio routing or another internal sync'd program like an instance of Abelton running parallel on the "DJ" computer but to get the "DJ" laptop's connected Traktor 10 DJ t to run the audio "through" should be reasonably accomplished by the configuration tool (if it comes with one like the Audio 8DJ did - running outside of Traktor). The midi send should reasonably be accomplished within Traktor preferences because aggregated soundcards isn't currently an option for Traktor.

Notes: If this works, I'd use the Aux-in for the Cue channel of Abelton on DB4 and use the four mix channels on the DB4 as Maschine group break-out routing.

I don't have the Traktor 10 DJ yet so don't know if you can configure "through" with the basic tool outside of Traktor plus I'm not sure if Traktor would pick-up the 2nd soundcard connected by USB on the "DJ" system as a midi device and allow you to send the sync throught it without complication (should work)

If it does work, you should be good to go by doing this and essentially sync two laptops, run ten channels of analogue audio + 4 decks of controlled audio, ultimately all mixed through the DB4 and two additional soundcards.

It all seemed crazy to see his set-up at first but I think that if this works, I now know to go about connecting my set-up in a similar workflow. It's more stable to work on two laptops and I wasn't keen on the idea of having another two soundcards at first (just getting over the extra one added for Abelton/Maschine) but I think I might be onto something else as well....

-------timecode?---------

Concerning the unused inputs on the "Performance" laptop's soundcard, you might get away with either setting up a standalone (unsync'd) instance of Traktor on this computer or you might be able to do something crazy and achieve timecode control by connecting your turntables/CDJ analog outs to the "performance" laptop's soundcard inputs and send the signal on through the analog pipeline to second soundcard on the "DJ" laptop. I'm not absolutely sure about this because you may still have the software preventing such since the DB4 would be the soundcard but an NI soundcard would be attached to that laptop and you might trick the software? If that doesn't work because you'd need the Line switchover you could try to figure out how to further route the audio internally through Abelton, and get control. **Not sure if you'd be able to e pick-up/switch over yet but pick-up of the signal as analog hitting the Traktor should allow control and shoot the audio out over the DB4's mix channels.

I may be onto something here but the trolls may come out and address the obvious which is the fact that you could partition the "Performance" laptop's card (in terms of audio) and share the channels between Abelton and another instance of Traktor running on that laptop (meaning two laptops with Traktor) You might even figure out a way to flip the sync portion on at a certain point and play with it very precisely.

If my analysis of the original subject Dubfire set-up has solved the laptop sync/audio routing/control issues by going about things this way while also leading the DB4 Users interested in having timecode towards achieving the capability. (it would be expensive if you start at the beginning but I'm only in need of a Traktor 10DJ card to test it with my existing Xone DB4/Xone 2D/two 1Ds and two Technics SL-1210 MK5Gs).

-MoMo

I did a test trial of this and then posted the questions on the three major Dubspot blogs concerning this mixer and the sync of the two programs (Traktor and Live) attempted to be used in sync on two separate systems.

The sync is still a problem but Dubire has it working. He might not even be using a method of sync and simply mixing straight BPM to BPM on launch without a clock signal betwen the two or... he actually has the clock coming from Abelton into Traktor and not the other way around......which, I have to add that MixArchitekt's Innerclocks Systems suggestion could be inserted to clean up the sync issue because Live can run the plug-in that generates the clock for the Traktor system to sync to.

Also, I got a reply from Innerclocks Systems and they have contacted their NI associate for further information on how to sync two laptops and didn't have an answer on a suggested 'better than cheap' 5-pin midi-to-USB cable. It would be nice so that you could go direct from 'Master laptop USB out through Sync-Gen II to other Slaved laptop USB in'. I may have sparked their thinking towards the future and the ongoing drift issues we have experienced in trying to using conventional 5-pin midi, iP ethernet and overblown device ridden crazy DJ rigs that end up as overkill just to get two things to communicate and route to the mixer.

On the last note, you couldn't do this with any other mixer so if there is an overblown set-up to be had one day, be glad that at the heart of it is this one particular mixer that can handle it.

(The two laptops thing was just a test - I'm moving onto something practical/better than the second laptop)

OK, after all of this exlporation of the two soundcard, two program, two laptops I've come up with a compromise that makes a bit of sense.

We've been screaming about timecode control for months because we want to use DB4's USB as Traktor's soundcard but if you are using another programs such as Abelton with another soundcard already, why not simply switch the soundcards?

The beauty of the DB4 is the matrix inputs and for those who do use both together, this will apply to you. If you are only using Traktor +DB4 then keep on screaming about the Scratch Certification but I'm saying that you can use one laptop, make the DB4 the Abelton soundcard (selectable by "USB" input) and use a Traktor 10 DJ soundcard for Traktor and still get timecontrol. You should still get control over Traktor via the DB4's midi control because it's set up as a recognized midi device on Channel 16 (with Mixarchitekt's brilliant tsi), you can still run timecode and feed the T10DJ deck outputs to the DB4 as analog and flip between the two. Also, if you have other controllers such as the Xone 1Ds you can still control Abelton on those (like normal - on separate assigned midi channels) and since it's all running internally you can sync them whichever way you'd like.

I've got to consider this as my best option even though I wanted the two laptops which is just too much right now since I'd prefer timecode over that and need another soundcard to get the two programs into the DB4's matrix. I have a Xone 2D as well which I could figure out how to use it alongside the DB4 (may'be for Reason which I Rewire anyway) and could even use the physical midi-out connection of T10DJ to the 2D's midi in (or virtually).

The Audio 8DJ can be aggregated (because it streams?) and so should the Traktor 10DJ but the A&H soundcards can't because they are not. I haven't figured a way around this but it may be possible to aggregate the A&H's to another using another program (?).

Also, like normal you'd have to set the device midi channels and preferences in Abelton so that there's no Midi overlap between the controller but should be good to go.

Bottomline, if you are using two soundcards anyway, might as well use the one for Traktor Scratch Pro as an eventual analogue input that will give you the time code control we desire and use the DB4 as just the soundcard for Abelton/Maschine selectable on the USB inputs. You're not losing anything because the TSP10DJ is pristine and you could even use that 5th out pair to go into the DB4's Aux for your CUE channel.

I attended PLASA in London today and although it is a small show, Allen&Heath were there representing their professional mixer range and the Xone DJ line.

A couple of things....

- I expect A&H to unveil something for the X-link connection @ BPM Birmingham 2011 next month, . No promises...just a highly favorable possibility that something to accompany the DB4 may be announced soon and it may be @ BPM because that's the event for DJs and last year it was the DB4.

- After a discussion with A&H about the DB4, I realized that to them the possibility of Traktor Scratch Certification of the mixer isn't dead....so don't give up just yet. They made no promises and didn't discuss this in anyway other than telling me that the mixer is capable so it's not a technical issue. All I can say is that it's definitely NOT ruled out, A&H still wants it for DB4 users and it's just taking time due to some factors that are not for us to discuss or speculate here anymore. We just have to wait and have faith that NI and A&H can make it happen soon. I wouldn't worry too much...if the Xone 92 can last this long then the DB4 may be around for a long time before they give us something else and since it's not using all of it's DSP potential yet...users may have a long adventure ahead.

- More FX ARE in the works like MixArchitekt said and hopefully in OS ver 1.03...which may be out soon after BPM... or by Nov/Dec.

Also, they were using MixArchitekt's TSI for TSP2 but it didn't immediately respond for me like mine does which ARJ said may be due to the Traktor host being an older model MacBook computer. I tried to get it to just load decks but it wasn't working like normal and was kind of a hamper on the initial experience. ARJ stepped over and it started working for him but not for me before that. Weird, it must have known the boss was in.

Hello everyone...I own a db4 and i think its absolutely great!! sounds crisp love the looping Fx and you can really accentuate a certain sound in the iso mode.. its the most Powerful mixer in my opinion.. but i guess it all comes down to whats come out of the speakers than the actual equipment!

You should hear this mixer on Funktion One's new DS210s....two stacks featuring the DS210s - about 60m of absolute warmth and clarity with quality digital and phono analogue sources.

So yes...it sounds killer on a quality system (avoid MP3s!).

/drool...

would love to hear it side by side with my v6

It's an amazing piece of kit. You need a while to get your head around all the parts/functions.

Thing could launch the space shuttle, but for the cost you can just about get a ride and see space.

I'm using my DB4 since about 6 months in my live setup now, and for me it's not only a mixer/soundcard, but it's more an instrument that I use in many ways to manipulate/sculpt my music.

Does anyone know of a club that has one of these?

If just for sound quality !! at this price better buy a Bozak ?

What I'm doing on the DB4 can't be done on any other mixer.

Example recording

Long and shaped on the fly but "yes" you really can use the DB4's onboard arsenal for live performance work in the DJ booth and it can be feel right at home in the studio as well.