Average Reviews:
(More customer reviews)The Good: It's built like a tank, right down to the industrial push-buttons, and the sound is incredibly spacious. At times it almost seems to be a larger soundstage than the original music you put into it. The line-level path (the main path) is excellent, with only the smallest reduction of resolution and transparency, but no shrinking of the sound stage, gloss, or glare. What you feed it is mostly what you get. Both the quality of the circuitry and the tonal balance lends itself to good transparency and resolution in-the-blend that, while not at the level of the finest digital mixers, is significantly above what mid-price analog is capable of. The midrange, in particular, is stunning and achieves with ease what digital has such difficulty. Vintage-style analog filters can be used in any combination and sound fantastic compared to digital emulation. The cueing system doesn't have every option, but is quite intuitive. The channel faders also have excellent curves for mixing to take advantage of this great design. You can even transition using two fingers on one hand. I thought the Stanton 500ALII's were pretty balanced, dynamic, and detailed on this mixer. The aux system is not only for adding effects on this 6-channel mixer, but can be used as a separate rotary-style mixer with its dedicated output. This also allows some neat filter tricks using the aux-crossfader assign knob. Like some of the Ranes, you can bypass the EQs. Internally, there are several jumpers that allow pre-cue EQ and several other customizations possible by a knowledgeable tech.
The Bad: The channel meters are too short. The crossfader is essentially useless for scratching or mixing, as the cut is too wide and the dip is too big, respectively. The line-level path does have a slightly weird, vague quality to the bass compared to perfect, and the highs lack the last degree of refinement the higher-end Xones possess. It's been said all the Xones have a "British" sound, and I'd add this is matches well with shoegazer rock and prog house. The 330pF phonos sound too smooth and bland with the Nightclub E, lacking the crispness the PPD01 exhibited. The Whitelabels sound completely different here than on any other mixer. The mid-bass and highs are accented as Shure describes them, but there's a complete lack of warmth in the lower midrange. Vocals never have any body to them on vinyl. Those accented highs contributed to some grunge, without lending any additional extension. I'd say both the digital PPD's match the Whitelabels better. However, all these carts' FIM distortion characteristics are lacking. The ATP-2, though, just comes across as thin, dull, and grainy. The phonos are also not very sensitive, so with the 680ELII's or HiFi's you're just barely getting to the first yellow LED. Nonetheless, the 680 ellipticals do sound better here than with any other mixer around due to the capacitance matching. However, the old moving iron, high coil number/inductance and mid-compliance just can't equal the extended treble of newer designs. There are some vintage, high inductance Japanese cartridges that might be worth attempting to match with the Xones. Otherwise, I recommend investing in some high quality phono preamps.
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This purebred club mixer has truly raised the bar in terms of club audio quality. Itâs also quickly become the mixer of choice for many of the worldâs greatest DJs, thanks to its pristine sound, its phenomenal VCF filters and its creative 4 band EQ. Club owners â if you want to know how good your big-money speaker system could sound, try it with a Xone:62.
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