Hey folks, I’ve currently got a V10 and Model 1 in hand and wanted to put them against each other in terms of sound. I’ve linked my video on YouTube and my test setup is in the description but I’ve attached it below for easy reading:

The first 4 minute section is a typical mix, with tracks coming in EQ’d. The last 2 minute section is putting all tracks together without EQing to hear the summing of the mixers.

Songs are the following:
Quisan - Dusk (Giovanni Carozza Detroit Rework)
Chris BC - With Me (Flystereo Remix)
Grzegorz Cerafin - Ironworks
r v - Accidental Arrangements

Test setup
- All 4 tracks set to 0db on both mixers, also used my ears to make sure no perceived loudness difference.
- V10 is using Djay Pro - straight to mixer
- Model 1 is using Traktor - Interface used is a Traktor audio 10 - RCA to DSub
- the RCA master out of the V10 is sent to Channel 6 of the Model 1, ensuring 0db is achieved on the meters and perceived loudness is the same.
- record out is going to an irig stream pro into an iPhone for audio and video capture/sync.

Hey all,

Great sub. I got booked to close a party 5-7am. Reputable promoter, after a headliner, 100 ppl on the floor when I started. €150

The venue printed a timetable that had me 5-8am. They ended up asking me to wrap up 7:30 cuz they wanted to close, though the dancefloor was still packed full. (Apparently sometimes they go til 9am!)

Should I ask for extra pay or just mention to the promoter that I got asked to play over? (They had another mix-up that night where at first they told me I was opening, then messaged me the night of saying that I was closing instead. I was cool about it.)

UPDATE: I’ll just mention what happened to them over email for visibility (that the night went so well!) but not expect them to pay extra.

Especially since it seems to happen regularly for closing sets at their resident venue. (The other 3 DJs on the night have fixed 2 hr sets, 11-1, 1-3, 3-5, and the opener gets paid same as me without going over.)

They’re one of the more solid/professional promoters/parties in a major city with good headliners, that I feel lucky to have got in with, so I feel like they’d find a way to do right by it.

Currently I have my music library on an external hard drive that's about to die so I'm in the process of copying everything on there to a new external drive. Both Serato and Rekordbox recognize that drive as the location for all of the files in my music library so I need to find a way to seamlessly transfer the databases from one hard drive to another.

The original drive is formatted as Mac OS Extended (Journaled) while the new one is formatted as ExFAT. I tried copying and pasting everything over from the old one to the new one, disconnecting the old one, and renaming the new drive as the old one's name as a way to trick my computer to search for the files on the new one with the same name but it won't let me change the name at all.

I was wondering if I should reformat the new drive as the same format as the old one and see if that should do the trick or if there's a better way to move everything from one drive to another without each program having to relocate and rescan every file again.

So a promoter just told me last week that they want me to dj, I gave them my price and they agreed to it however, now they’re saying that my pay is contingent upon how many people show up. How should I go about this? They asked if I could get people to come out and I said absolutely, but we just started promoting this event LAST WEEK and it’s this Saturday. While I can absolutely get people to come out, I cannot guarantee that people will come out.

You guys peep it? Saw it on DJ City… can’t help but to think that it’s a really great concept… still lacking a bit and early in development… but if they added a row of Dicer style buttons, synch and link functions… I think I’d be all over this.

I have the HD25s for about 13 years now (bought a new pair a few years back because it was a good deal) and I am really happy with them.

Then I saw the AIAIAI TMA-2 headphones more frequently and decided to try them out and honestly:

They sound really bad - at least to me.

Compared to the HD25s (and to other headphones - even AirPods) they sound sort of muddy with little clarity. Yes, the bass is very present but also kind of heavy. A kick-drum fells more like a heavy shove compared to the HD25s. The mids are there but are overshadowed by the bass. The highs suffer a similar fate.
Generally, the sound is way less precise than the HD25s. I would compare the 2 headphones with 2 sound systems. The HD25 feel like a Function One (very punchy, snappy transients, high clarity in the mids, somewhat "sharp" highs) and the TMAs feel more like a Martin Audio (very warm low end that feels like a heavy blanket, and highs that are designed to be dull so they don't hurt your ears).

I also tried different speaker cups and ear pads on the TMAs (S02 and S05) but the sound didn't get better.

The built-quality seems very fine, and the convenient modularity aspect is also a plus point. However I can't see myself using the TMAs in the future and am a bit confused, why so many people prefer these headphones over the HD25s.

What are your opinions about these headphones?

TL;DR: Getting consistent channel imbalance (~6-8%) on one of my two 1210 Mk2s, using Concorde cartridges. Adjusted collet screws, tonearm-to-gimbal screws, and cleaned all contacts — no real improvement. Stock 1210 Mk2 for comparison shows <0.3% variance. Looking for ideas on what else could cause this.

Backstory

Bought a secondhand pair of Technics 1210 Mk2s about 6 months ago. One had clearly seen club use; the other looked well cared for or barely used. Previous mods on the tonearms included a plastic cap on the tonearm end, silicone tube inside the arm, heat shrink on the arm tube, and Cardas litz wire. The seller didn't do these mods himself and wasn't sure if the person before him did either.

I've since stripped down and rebuilt almost everything on both decks — except the tonearm bearings. One day, I noticed the headshell collet twisting more than it should, and found the collet screws were stripped.

I tried fixing this myself with a slightly larger screw instead of replacing the connector/mount outright — bad call. The screw head snapped off, jamming the connector inside the tonearm. I ended up ordering a new Technics SME headshell, Cardas litz wire, and two replacement tonearm tubes from Pimp My Decks. So one deck had a replacement tonearm tube and connector, while the other just had a replacement tube with the stock connector.

The problem

Both decks worked fine for a while, until some critical listening revealed the soundstage was shifted slightly right on the deck with the original connector. Measuring it, I found a channel imbalance of ~8% on average, favouring the right channel (outer groove). I run Concorde Club Mk2 cartridges, so standard azimuth adjustment isn't an option.

What I've tried

• Collet screw tension: When first reassembling the tonearm, I left the tension on the collet screw conservative to avoid stripping the threads like the previous modifier. I tried tightening them more, and deliberately biasing slightly left (inner groove) to compensate — improved the difference from 8% to 6%, but no further.
• Cleaning contacts: cleaned both connections with IPA, retested — same result.
• Screws connecting tonearm tube to plastic piece in gimbal assembly: The tonearm tube had noticeable play when I loosened these screws. I tried tightening/adjusting the tube in both directions but observed no meaningful change.

Tested across multiple records (different quality, lengths, cuts) and both cartridges — the imbalance is consistent and clearly tied to this specific tonearm. For comparison, a friend's stock, single-owner 1210 shows <0.3% variance (SD ~0.085%).

Methodology

Recorded each track in Rekordbox, then used Audacity's RMS measurement feature to compare channel levels.

Next step

Given the history of prior stuff-ups from the previous modifier, I'm planning to fully re-solder the tonearm wires to the stock SME connector, in case the L channel connection has come loose somewhere.

Goal: get average difference between L/R channels under 3% (inaudible, at least to my ears).

Happy to provide photos of the azimuth setup if useful, but I’ve found it hard to capture a photo given how small the stylus/cartridge assembly is, but I'll try if someone thinks it'd help diagnose. I’m also more than happy to elaborate.

Open to any ideas or thoughts.

Thanks for reading this far 

I'm having a weird issue with my XDJ 1000mkii and hoping someone can help.

The Problem:

When I load a track from my latest batch, the player auto-loads at the last hot cue point (letter H) instead of the first. I cant press previous hot cue buttons and pressing previous call button to go back to A does nothing. The CALL button is also completely unresponsive on these tracks—it won't jump back to Cue A at all.

What works:

· My older tracks (already on my USB) work perfectly. CALL button and all hot cue navigation function as expected.

· In Rekordbox, all hot cues (including A) are present and work correctly.

· I've enabled "Auto Load Hot Cue" on the XDJ and the setting is active.

· I've also enabled "Enable Auto Load Hot Cue on CDJ/XDJ" in Rekordbox for all tracks.

What I've tried:

· Formatted USB and did a fresh export

· Re-analyzed tracks in Mixed in Key and Rekordbox

· Enabled/disabled Auto Load Hot Cue settings

· The USB is freshly formatted (FAT32)

The catch: This only happens with my latest batch of tracks. Everything else on the same USB works fine.

· Using Mixed in Key for cue points

Has anyone experienced this? Could this be a Mixed in Key → Rekordbox 7 compatibility issue? Or something specific to the XDJ's database reading?

Any help is appreciated. Thanks!

So obviously a lot of wordplays and mixes are in the moment and feels like lightning when you improv pull it off. Ofc though you can take inspiration from other DJs and there are a ton of mixes on Instagram.

Anyone have any wins they’ve found with organizing or keeping track of word plays/tone plays? I’m either thinking of a folder in Rekordbox with playlists each containing the 2 songs for the mix, or just deadass keeping a note on my phone 😂

Curious what others out there do to keep these organized

If I'm looking to add fx to an old Rane TTM56 would the RMX Ignite work? Or is there something I haven't thought of that makes it only really useable with Pioneer mixers?

Looking for input, thanks in advance.

Just as the title says. No more to add. What are your comments?

I’ve done bars, clubs and weddings for about 11yrs now and when it comes to weddings I keep it pretty basic on the mic. I’ve done it enough that I’m comfortable and enthusiastic on the mic but don’t put on a fake radio DJ voice or get on the mic in between every other song. I usually just open by welcoming everyone, letting them know we’re gonna have a really fun night and get into introducing the wedding party and go into first dance. From there, I’ll make some basic announcements and bring people up for toasts and parent dances. After that’s all out of the way I open the dance floor by inviting everyone to join the bride and groom on the dance floor for the first song so I can pack the dance floor at the begging so I can kind of set the vibe for the rest of the evening. Once the dance floor is open I pretty much just let the music talking.. I don’t do a ton of hype stuff you might see DJs doing at like raves or festivals. I’m still not great at closing out the night on the mic lol I’ll basically let people know we have one last song so come meet the bride and groom on the dancefloor and one the songs done I’ll basically say “ let’s hear it one more time for the newlyweds, thanks for coming out and enjoy the rest of your evening, Goodnight!” I mean the last song is always a rager and everyone’s having fun but yeah I keep it pretty short and sweet. I’ve done probably close to 150 weddings and 99% of the time it goes great and I get 5star reviews but I’m always looking to improve I guess and don’t wanna get stale doing the same things. I’m naturally a pretty introverted guy so I just kind of feel like that’s my style but I’m curious to hear what some of you guys like to do on the mic at weddings, especially opening and closing the night?

I got booked to play a festival, but on a silent disco stage. I’ve never mixed without a monitor, and I’m curious how this works.

Any tips?

Launch price of €2699

Post about your gigs here - success stories? Disasters? Lessons learned?

Any recommendations for stands that won't break the bank? It cannot have a clamp. I like the kikutani stands but are sold out on amazon.jp

also interested in possibly making my own if anyone can share their projects.

TL;DR

As an active participant in this sub, I’ve received permission from the mods to post about my projects when there’s important or relevant information to share.

DJ Conversion Utility TWO (DJCU2), the future-proof successor to the world-renowned DJ Conversion Utility (DJCU), is officially released on August 29th, 2026.

Completely rebuilt from the ground up, DJCU2 is designed to give DJs a fast, accurate, and reliable way to convert playlists, crates, tracks, and DJ metadata between the most used DJ software platforms.

The application transfers essential DJ metadata, including cue points, loops, track colors, and static, dynamic, or fluid beatgrids, from audio files, while streamlining the entire conversion workflow.

One of the key differences from the original DJCU is that DJCU2 no longer relies on a Rekordbox XML file as an intermediate format. Instead, it converts directly from the source DJ software to the selected destination(s), with multiple destinations supported in a single conversion run. This makes the entire workflow more efficient, streamlined, and easier to understand.

A Single Unified App to Cover All Conversions
DJCU2 unifies the functionality of several formerly separate ATGR applications into a single application, eliminating the distinction between workflows for the Engine DJ ecosystem and other leading DJ software platforms. Its redesigned user interface and streamlined workflow make DJ library conversion faster and easier, while a fully incremental operation allows users to convert only the playlists or crates they need, exactly when they need it.

DJCU2 never duplicates audio files. Source and destination DJ software platforms work from the same underlying audio files.

Broad DJ Software Platform Support
DJ Conversion Utility Two supports two-way conversion between:

• Rekordbox 6 & 7
• Serato DJ Pro 3 & 4
• Traktor Pro 3 & 4
• VirtualDJ
• Engine DJ 4.3+
• Algoriddim djay Pro 5+
• Apple Music, formerly iTunes

The application can also use a “One Library” (Device Library Plus) USB drive and Rekordbox XML files as source formats.

Fluid and Dynamic Beatgrid Conversion for Every DJ Software Platform
The fluid beatgrid analysis of djay Pro and Virtual DJ create the best beatgrids in the industry, however those grids were only available to DJs who were using those specific DJ platforms. DJCU2 supports fluid beatgrid conversion across supported DJ platforms, with conversion quality dependent on the capabilities of the target software. 

The ability to “upgrade” beatgrid quality without leaving their preferred DJ software platform is particularly valuable for users of platforms known for less accurate beatgrid analysis. DJCU2 makes it possible to improve beatgrid accuracy while keeping existing libraries and workflows intact.

 For users converting from djay Pro, DJCU2 offers a dedicated “Convert Only the Beatgrid” option that makes upgrading beatgrids in other DJ software exceptionally efficient. Rather than requiring a full round-trip conversion, DJs can transfer improved beatgrids while preserving existing cues, loops, and other metadata already established in their destination library.

Automatic Correction of Shifted Cues, Loops and Beatgrids
Shifting cues, loops, and beatgrids when converting MP3 and AAC tracks between different DJ software platforms has long been an unavoidable part of the conversion process. Even the “One Library,” project, introduced last year, suffers from this phenomenon.

DJCU already offered a highly effective automatic correction system for these so-called encoder shifts. DJCU2 takes this capability a step further, automatically correcting displaced cues, loops, and beatgrids during conversion.The system identifies the encoder used to create an audio file and automatically applies the appropriate correction, ensuring that performance data remains accurately aligned with the audio throughout the conversion process.

When DJCU2 encounters a recognizable encoder that is not yet supported, it can prompt the DJ to provide a sample file. This enables MixMasterG to identify the encoder and add support in a future release, continually expanding DJCU2’s compatibility and accuracy. 

Share Complete Playlists or Crates With Fellow DJs
DJCU2 introduces a new DJCU2 Archive feature that makes it easy to share complete playlists, including audio files and DJ-specific metadata such as cues, loops, and beatgrids, with other DJs, even when they use different DJ software.

A DJCU2 Archive can be shared through standard file-sharing services such as Dropbox and WeTransfer, allowing DJs to exchange complete, ready-to-use collections without being tied to the same software platform. Both the sender and recipient must have a DJCU2 license.

The YouTube Short demonstrating this feature includes a link in the description to a test playlist created by MixMasterG in Traktor, giving anyone interested in this feature the opportunity to try it out for themselves.

The DJCU2 Archive format is built on an open, unencrypted SQLite-based standard, making the underlying data accessible to developers who want to create their own tools and workflows around the format. DJCU2 functions as both a reader and writer of the archive format, opening the door to a broader ecosystem of DJ library tools and integrations. 

Mixed in Key support for all DJ software
Mixed in Key (MiK) continues to offer the industry’s most accurate and consistent key analysis, while also providing the ability to automatically set cue points. Getting this valuable data into DJ software can often be challenging, but DJCU2 makes the process remarkably easy, even for DJ software that isn’t officially supported by Mixed in Key. A valid Mixed in Key license is required to activate this feature.

Plug the Holes Left by the DJ Software Industry
DJCU2 delivers countless improvements and fixes that address gaps and limitations across individual DJ software platforms. 

For example, DJs upgrading from Serato DJ Pro 3 to Serato DJ Pro 4 may no longer have direct access to valuable history lists created in the earlier version. DJCU2 can convert those Serato 3 history lists into Serato 4 crates, allowing DJs to regain access to their previous performance history and continue working with it in their current software environment.

Another example is a workflow to create a Device Library on a USB drive containing only a Device Library Plus (One Library), without importing (duplicate) audio files into Rekordbox. Currently, Rekordbox supports the process in the opposite direction, from a Device Library to a Device Library Plus, but does not provide the reverse workflow.

Why Only Read and Not Write One Library or CDJ USBs?
DJCU2 deliberately does not create USB drives intended for use with AlphaTheta/Pioneer DJ standalone equipment. MixMasterG considers the creation of these USBs to be the responsibility of the hardware manufacturer, with Rekordbox providing the official export workflow. From a liability perspective, he believes working DJs should follow the same approach. 

Rekordbox is available free of charge for export purposes, and using it to prepare USB drives keeps the chain of responsibility clear, with a simple test in case something does not work as expected: “Does it work in Rekordbox?” If the answer is yes, then responsibility for ensuring that the USB works correctly on AlphaTheta/Pioneer DJ hardware lies with that manufacturer.

While MixMasterG fully supports the goal of having DJ metadata written and read in a uniform way across platforms, he does not consider One Library to be the mechanism that achieves this. One Library remains an encrypted database system, is still subject to encoder-shifts, and is primarily designed as a transportation mechanism rather than as a true cross-platform DJ library exchange format.

Apple Music Integration
DJCU2 supports conversion to and from Apple Music. DJs who use Apple Music as their primary collection manager can transfer metadata into playlists and crates native to their target DJ software. The application can also sync playlists and crates back to Apple Music for use on iOS devices, including with Algoriddim djay on iPhone.

YouTube Tutorials
Tutorials and guides demonstrating DJCU2’s workflows and features are available through MixMasterG’s YouTube channel, including quick-start tutorials and more comprehensive guides.

Built for Mac
DJCU2 is a macOS-only application, fully compatible with macOS 11.0 (Big Sur) through macOS 27 (GoldenGate). It runs natively on Apple Silicon Macs while continuing to support Intel-based Macs. An active internet connection is required when launching the application.

Development History
The original DJCU has been available to DJs for more than fourteen years. However, it was never intended to be a commercial application, and over time, its aging codebase began to show its limitations. DJCU2 was created to address those limitations, bringing together MixMasterG’s experience and knowledge from more than a decade of DJ tool development into a completely rebuilt application.

DJCU2 has been in public beta since May 2026, with more than 700 DJs joining the beta program and contributing extensive bug reports, feedback, and suggestions for improvement. Their input has played a crucial role in refining the application ahead of its wider release.

Several influential DJ media outlets also began reporting on MixMasterG’s work early in the development process, highlighting the new possibilities DJCU2 brings to DJ library conversion. 

Availability, Pricing and Distribution
The DJ Conversion Utility Two is available for purchase through ATGR’s Sellfy page.
DJCU2 is available as a one-time purchase with no subscription and costs EU 44,50.

Upgrade Offer for Existing Customers
Customers who purchased a DJ Conversion Utility (DJCU) or Denon Conversion Utility (DeCU) license on or after January 1, 2025 are eligible to purchase a DJCU2 license at a discounted upgrade price of €20.00. Customers can request the upgrade offer by sending a DM with the PayPal email address used for their original purchase through FaceBook or Instragram  or email.

Customers who purchased DJCU or DeCU before January 1, 2025 will require to buy a DJCU2 license. Their existing DJCU or DeCU license remains valid, and the original application will continue to function on the macOS versions it currently supports.
Because DJCU2 is a completely new application that combines the functionality of several previously separate apps into a single product, its license price remains significantly lower than the combined cost of purchasing those applications separately. 

The original DJCU and DeCU apps together with some specialized ATGR apps will be marked as “end of life,” meaning they will no longer receive new features and may eventually fall behind in compatibility. However, for DJs using older software or those who only need basic conversion capabilities, they remain a good alternative to DJCU2.

I have noticed the price of these creep down and down since launch, so I can only assume they are not selling very well.

Anyway, one particular retailer had them at a ridiculously good price so I’m quite tempted.

Any opinions from owners of this mixer?

I currently own an old Nuo 3.0 (+ Eternal fader) which I love. I could do with four channels though.

These road cases were made be Calzone for Sam Ash music. Any leads on kits for replacement or someone who is familiar with building cases and can recommend the two different foams I need (hard and soft)?
Structurally the two cases I have but the foam is far too compressed and just disintegrating.
Thanks for any advice, tips, direction.

How many of you out there are DJing just for the culture without regard for money, social clout, fame, influence or even getting big/regular gigs? I feel like I’ve been blessed with a scene that doesn’t have grind culture or climbing the ladder as a central theme. For contrast, you go on YouTube to learn and it’s all about being the best and scoring big gigs.

For context- I live in a small city (~250k population) and go to dance parties and raves regularly. I fucking *love* dancing and have started to learn DJing so I can get more involved in the local scene. I don’t have a drive to get known, have a presence online, or monetize this endeavor in anyway. Been volunteering/learning with production, lights, helping put up shows, just carrying equipment around. Seems like multiple collectives here are actually losing money on the endeavor but carrying on with putting on shows anyways. There’s at least 10+ DJs been out here doing it for more than a decade(s) and no one has terribly inflated egos. It’s lovely. Dance floors of less than 50people with most folks comfortable just being themselves or losing themselves for a night. College kids to retirement folks coming out. Folks offering to let me practice on their CDJs and access to their libraries. New DJs being celebrated and promoted by the experienced DJs. DJs that actually dance HARD AF to each others sets. Is this a regular thing or did I just stumble into a gem of a scene?

Don’t get me wrong, I wish things were bigger sometimes and the folks putting it in were naturally rewarded more for all the energy that they put into things, but it’s overall the drive here is so different than what I see online and I couldn’t be happier that commercialism/consumerism isn’t the driving force here.

From a little mental check-in to jumping around, releasing the nerves - I wanna hear what you do to get yourself stoked!