Rane SIXTY-FOUR User manual

OWNER’S MANUAL
SIXTY-FOUR
RANE
SIXTY-FOUR
MIXER
MANUAL

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Important Safety Instructions
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, registers, stoves, or other apparatus (including
ampliers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding type plug. A polarized plug has two
blades with one wider than the other. A grounding-type plug has two blades and a third grounding
prong. The wide blade or third prong is provided for your safety. If the provided plug does not t into
your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord and plug from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where it exits from the apparatus.
11. Only use attachments & accessories specied by Rane.
12. Use only with the cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the
apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid
injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects
have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
15. The plug on the power cord is the AC mains disconnect device and must remain readily operable. To
completely disconnect this apparatus from the AC mains, disconnect the power supply cord plug from
the AC receptacle.
16. This apparatus shall be connected to a mains socket outlet with a protective earthing connection.
17. When permanently connected, an all-pole mains switch with a contact separation of at least 3 mm in
each pole shall be incorporated in the electrical installation of the building.
18. If rack-mounting, provide adequate ventilation. Equipment may be located above or below this
apparatus, but some equipment (like large power ampliers) may cause an unacceptable amount of
hum or may generate too much heat and degrade the performance of this apparatus.
WARNING: To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture.
Apparatus shall not be exposed to dripping or splashing and no objects lled with liquids, such as vases,
shall be placed on the apparatus.
Warning
To reduce the risk of electrical shock, do not open the unit. No user
serviceable parts inside. Refer servicing to qualied service personnel.
The symbols shown below are internationally accepted symbols that
warn of potential hazards with electrical products.
This symbol indicates that there are important operating and maintenance instructions in the
literature accompanying this unit.
This symbol indicates that a dangerous voltage constituting a risk of electric shock is present
within this unit.
These stickers are located on the bottom of the mixer.
WARNING: This product may contain chemicals known to the State of California to cause cancer, or birth
defects or other reproductive harm.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION

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FCC Statement
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant
to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful
interference in a residential installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause harmful interference
to radio communications. However, there is no guarantee that interference will not occur in a particular
installation. If this equipment does cause harmful interference to radio or television reception, which
can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modications not expressly approved by Rane Corporation could void the user’s
authority to operate the equipment.
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.
Copyright Notices
©2013 Rane Corporation. All rights reserved. Serato DJ and Scratch Live are trademarks of Serato.
Trademarked in the United States and other countries. This software is based in part on the work of the
Independent JPEG Group, and uses libpng code, copyright © 2000-2002 Glenn Randers-Pehrson. The
Serato NoiseMap™ Control Tone, the audio pressed on Serato Control vinyl and Control CDs, is copyright
©2004-2013 Serato. The Control Vinyl and Control CDs are licensed for personal use only. The creation of
personal backups of the Control CD is allowed, however duplicating Control CDs for commercial benet is
strictly prohibited. For avoidance of doubt the duplication or creation of Control vinyl for any use is strictly
prohibited. Please respect our copyright. Windows®is a registered trademark of Microsoft Corporation in
the United States and other countries. Apple, Mac, Macintosh, iTunes, Safari, QuickTime, GarageBand,
and OS X are registered trademarks of Apple Inc., registered in the United States and other countries.
Check List
These items are included in the box:
• 1 Sixty-Four Mixer.
• Serato DJ software and drivers install disc.
• 4 (four) control CDs.
• 4 (four) control records.
• 2 USB cables.
• IEC C5 line cord.
• Serato DJ Software Manual.
• This Sixty-Four Mixer Manual.
Wear Parts
The Sixty-Four Mixer contains no wear parts. The control vinyl records and CDs are wear parts as
described in "Limited Warranties" on page 36.

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Contents
2 Important Safety Instructions
5 Quick Start: Software
6 Quick Start: Hardware
9 Sixty-Four Overview
10 Sixty-Four Connections
10 Power Supply
10 Mixer Outputs
10 Two USB Ports
11 Deck Input Channels
12 Headphone Cueing
13 Software Controls
13 Control Assignment
13 Library Scroll and Load
13 Auto Looping Controls
13 Slip
13 Sync
14 MIDI Triggers 1-8
14 MIDI Layers
15 Microphone Inputs
15 Main Mix
16 FlexFX Loop
17 Effects Engine
17 FILTER Effect
17 FLANGER Effect
17 PHASER Effect
18 ECHO Effect
18 ROBOT Effect
18 REVERB Effect
18 Effects Display and BPM Source
19 Effects Synchronization
20 Effects Parameter Table
21 USB Audio
23 Shift Options
23 Ext. Insert Options Menu
23 Filter Effect Options Menu
23 Flanger Effect Options Menu
23 Echo Effect Options Menu
24 Deck 1-4 Input Channel Options Menu
24 Main Mix Options Menu
24 Mixer Shift Functions
24 MIDI Start/Stop
24 Nudge
24 BPM Adjust
25 DJ Swapping
25 Deck Swapping Controls
25 The DJ Handover Walkthrough
25 Enhancing Back-to-Back Mixing with the USB Insert
26 Driver Control Panel
26 ASIO (Windows)
26 Core Audio (Macintosh)
26 Preferences Screen
27 Deck Inputs 1-4 Screen
27 Effects Screen
28 MIDI Conguration Screen
28 Factory Defaults
28 MIDI Mapping
28 Mic Bypass Mode
28 Top Panel Map
29 Front Panel MIDI Controls
30 Rear Panel MIDI Controls
30 Control Panel MIDI (Mixer Menu Controls)
32 Technical Specifications
33 Fader Maintenance
34 Mounting Brackets
35 Declaration of Conformity
36 Limited Warranties

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Quick Start: Software
Before using your Sixty-Four, at least read this short section for the basics. Read the complete manual
to get the best investment from your new Sixty-Four. This section will help get you started with one
computer.
Serato DJ Software Installation for Mac OSX
Before installing, we recommend you check for
a newer version of Serato DJ at serato.com/
download and install the latest Serato DJ version
if it is newer than the version on the CD-ROM that comes with your mixer.
1. Insert the Serato DJ Installer CD-ROM that came with your unit,
-or-
browse using Finder to the location where the Serato DJ download was saved.
2. Double click the Serato DJ 1.5.dmg le.
3. The software EULA screen will appear - read the License Agreement, then click Agree.
4. The disk image mounts and opens the actions folder, once this is nished you can unmount the disk
image and launch Serato DJ.
5. Drag the Serato DJ application icon to the Applications folder alias.
6. You may then need to enter your User Password to authenticate.
7. Serato DJ will now copy to the Applications folder, once this is nished you can unmount the disk image
and launch Serato DJ.
Serato DJ Software Installation for Windows
Before installing, we recommend you download and install the latest Serato DJ version from serato.com if
it is newer than the version on the CD-ROM that comes with your mixer.
1. Insert the Serato DJ Installer CD-ROM that came with your unit,
-or-
browse using Windows Explorer to the location where the Serato DJ download installer was saved.
2. Double click the le called “SeratoDJ_1.5_installer.exe”.
3. Accept the Security Warning and click “Run”.
4. The installer introduction screen will appear, click Next.
5. Read the License Agreement, then tick “I agree to the license terms and conditions,” then click Install.
6. If a User Account Control window appears, click Yes.
7. Serato DJ will now perform a standard installation.
8. The installation is now complete. You can now click Close.
NOTE: A shortcut will be also be created on desktop.
When you first connect your Sixty-Four Mixer via USB, you may see a request to install drivers.
Accept the request and allow the driver installation to proceed. After drivers are installed, a Sixty-Four
control panel will be available, and your software will recognize the Sixty-Four.

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MAIN OUT
SEND
PHONO
GROUNDS
MIC 1
MIC 2
SESSION
AUX
ANALOG INPUTS
MIC INPUTS
LEFT
100-240V 50/60 Hz 15 WATTS
LEFT
RIGHT
ACN
001 345 482
MADE IN U.S.A. RANE CORP.
RIGHT
RETURN
SESSION
FLEXFX LOOP
LEFT
RIGHT
USB A
USB B
BOOTH OUT
LEFT
RIGHT
IN
IN
OUT
R
L
1
3
R
L
4
IN
OUT
S/PDIF
2
PH - CD
PH - CD
OFF - +48
PH - CD
PH - CD
R
L
MIC - LINE
SIXTY-FOUR
USB
TURNTABLE OUTTURNTABLE OUT
POWERED POWERED
Quick Start: Hardware
This section will help you get your decks connected and music playing. Turn the power off while
connecting your decks and ampliers.
Analog Inputs
1. Serato DJ has four virtual Decks 1-4. Decks 1 and 2 are typically used as the primary Decks and Decks
3 and 4 as secondary decks. For DVS operation, connect the corresponding analog inputs to the
appropriate Decks and set the rear panel PH/CD switches as required.
2. For DVS playback, set the selector switches to the appropriate USB playback channel for each Deck.
For example if connected to USB Port A, set input selectors to 1A, 2A etc. If connected to
USB Port B, set input selectors to 1A, 2A etc. Note that audio and MIDI for each Deck will be
routed to the correct USB Port.
3. For direct analog playback, set source selectors to PH/CD. THRU will be indicated on each software
virtual deck set to an analog input source.

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3B 2B 4B1B3A 2A 4A1A
PH/CD 3
Port A
= green
Alternates strip control
assign to Deck 3 or 1.
Assign to
Deck 2 or 4.
Port A = green
Port B = orange
Port B
= orange AUX
CONTROL
PH/CD 2 AUX
CONTROL
PH/CD 4 AUX
CONTROL
PH/CD 1 AUX
CONTROL
DECK 3 / 1
3124
TAB
DECK 2 / 4
TAB
For control of opposing decks, the center channels of the Sixty-Four are wired to Decks 1 and 2, and the
outside channels are wired to 3 and 4. This places pairs of decks centered over the crossfader.
Press the Deck 3 / 1 button to assign the left-hand control strip to Deck 3 or Deck 1. Similarly, press the
Deck 2 / 4 button to assign the right-hand control strip to Deck 2 or Deck 4. The Control LED under each
source selector shows the currently assigned Deck. The source selectors route Audio and MIDI to and
from USB Port A or Port B.
Analog Outputs
• Main Out is on a pair of balanced XLR jacks with pin 2 “hot” per AES standards.
• Booth Out is on a pair of balanced ¼˝ TRS (tip-ring-sleeve) jacks.
• Session Out is available on a pair of unbalanced RCA jacks.
• Headphones output is available on both ¼˝ TRS and 3.5 mm jacks.
The Main, Booth and Session outputs come from the same “Main Mix” signal. Main, Booth and Session
outputs each have their own Level control. Because all signals are identical, you may use any of these
outputs as the “Main” output if a different cable is required for system connection.
Rane recommends balanced wiring for the strongest signal and rejection of hum and noise. If your
cable to the destination is less than 10 feet (3 meters), you can often get away with an unbalanced cable.
See the RaneNote “Sound System Interconnection” at rane.com for cable wiring recommendations.
Calibrating Serato DJ for Control Vinyl or CD
Since Serato DJ is controlled by an analog signal, there is no guarantee of what state that signal will be in
by the time the software gets to interpret it. Therefore, Serato DJ needs to be able to handle a wide range
of signals, and be congurable to use them optimally. Calibrating is just conguring the software to your
situation. Calibration is equally important for both vinyl and CD users of Serato DJ.
There are two parts to the Serato DJ Control Vinyl: The directional tone, and the NoiseMap™. Listening
to the control vinyl, the directional tone is the 1 kHz tone. The noise map sounds like random noise over
the top of the tone. The directional tone provides the current speed and direction of the record, while the
noise map tells the software precisely where on the record the needle is currently.
The Noise Sensitivity slider lets you adjust the noise threshold. A threshold is a lower limit, below which
a process will not occur. In the case of Serato DJ, the noise threshold is the limit below which the input
signal will not be interpreted as control signal; in other words if it’s below the threshold, it is considered
noise and ignored.
This setting is necessary because a stylus is very sensitive, and will inevitably pick up noise from the
environment as well as the signal on the record, especially in the noisy environment of a live show.

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How To Calibrate Serato DJ
With music playing in the background through your system or booth output, put your needle on the record
with the turntable stopped. If you are using CD players, the same rules apply. Have the CD deck paused
or stopped while calibrating.
Click and hold the estimate button until the slider stops moving. Moving the Noise Sensitivity slider
to the left will make Serato DJ more sensitive to slow record movement, but also more sensitive to
background noise.
Repeat the process for each deck.
Things to remember:
• Your needle must be on the record.
• Your turntable (or CD player) must be stationary.
• The background music playing must be at a similar level to
which you will play your set at.
• Calibrate Serato DJ every time you play.
TIP: If the slider jumps to the far right, then you have a problem
with noise in your turntables/CD players/mixer. Check all your
connections and make sure your equipment is well earthed.
In some situations you will not be able to improve the signal
quality, and you will have to play on regardless. In this situation,
stick to rel mode.
The Scopes
The scopes on the setup screen in Serato DJ display the input signal as a phase diagram. The key factors
to look at on the scope display are crisp clean lines, round shape, and the tracking percentage in the
lower right corner.
Start both turntables or CD players. You will see green rings appear in the scope view, as shown above.
For optimal performance the inner ring should be as close to circular as possible. Use the scope
zoom slider to zoom in or out as necessary. Use the scope L/R balance and P/A balance controls to
adjust the shape of the inner ring. The number in the top left corner of the scope view gives the current
absolute position within the control record or CD. The number in the top right corner is the current speed
in RPM. In the bottom left is the current threshold setting, and the number in the bottom right shows
the percentage of readable signal – this number should be close to 85% when your system is calibrated
properly.
Calibration Troubleshooting
After calibration, the number in the upper right corner of the scope view should say 0.0 while the needle is
on the record and the turntable is stopped.
If that number is uctuating then manually move the estimate slider to the right until that number is
stable at 0.0. If you’ve moved the slider all the way to -24 and its still uctuating then you have a grounding
or interference problem somewhere in the chain.
If so, the rst thing to check is that the grounding wire coming from your turntable is connected to your
mixer’s grounding posts.
Next, make sure that the hardware isn’t sitting next to a power source such as a power strip or power
box and that the RCA cables connected to the hardware aren’t laying across other power conducting
cables.
If you are still experiencing issues, you might have to adjust the placement of your setup. For example,
make sure bass bins aren’t directly under the turntables.
More help is in the Troublshooting section of the Serato DJ software manual.

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Sixty-Four Overview
Software controls are built-in for one or two computers
• Includes Serato DJ software.
• Includes Rane ASIO and Core Audio Drivers for Serato DJ and other audio programs.
• Advanced MIDI and audio routing: route any deck to either USB Port, and MIDI follows the audio.
• Control Library, Cues, Loops and Samples on two computers.
• 30 controls with 157 unique mappings for software.
• Each of the two USB ports supports six stereo record and ve stereo playback channels.
• USB record channels support:
• Vinyl control signal for four Virtual Decks, or record any one of the four Decks post-fader.
• Record the Main Mix, Mic 1 or Mic 2.
• FlexFX USB Insert Send to each computer.
• USB playback channels support:
• Playback for four Virtual Decks.
• FlexFX USB Insert Return from each computer.
• Great-sounding 32-bit oating-point audio sampled at 48 kHz.
Deck input channel controls
• Pre-fader Level, 3-band isolator EQ, low-pass / high-pass sweep Filter with resonance adjustment.
• Crossfader, FlexFX and headphone Cue assigns.
• Proprietary magnetic crossfader with a contour control.
• Contour control for the channel faders.
Two Mic inputs
• Mic 1 includes a Phantom power switch.
• Mic 2 includes a Mic / Line level switch.
• Controls: On / Off, Level, Pan, Tone and
FlexFX assign for each Mic.
• Unused Mic controls easily map to MIDI.
Advanced post-fader FlexFX
• Internal Effects engine with:
• Filter, Flanger, Phaser, Echo, Robot and
Reverb.
• MIDI beat clock track and generate.
• Sync BPM with Serato DJ, MIDI beat
clock or manual Tap button.
• USB Insert loop for post-fader software
effects for each of the two ports.
• External analog insert loop for outboard
effect units.
Main Mix section
• Balanced XLR Main Mix and
1/4" TRS Booth outputs.
• RCA analog and S/PDIF Session In / Out.
Headphone monitor with split cueing.
DECK 3 DECK 1 DECK 2 DECK 4
Deck Input Channels Main
Mix
Headphone Cue
Software
Controls
Software
Controls
Mic Inputs
FlexFX

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Sixty-Four Connections
Power Supply
The Sixty-Four Mixer features an internal universal switching power supply that operates on any AC
mains 100 to 240 VAC, 50 or 60 Hz (most places in the world). All that is required when traveling is the
appropriate IEC line cord, available from a local electronics store. The universal supply is a major plus for
the traveling DJ. Though this mixer has turn on/off muting, it’s smart to leave the power unplugged until
everything else is connected.
Mixer Inputs
• One stereo Phono / CD input is provided for each of the four Decks on a pair of RCA jacks. Each may
be set for PH or CD using rear panel slide switches. Set unused inputs to CD. Connect your turntable
ground wires to the ground posts provided on the rear panel when using PH inputs.
• There is one stereo unbalanced Aux input on RCA jacks. This input may be selected as a source by any
of the four Deck channels.
• One stereo Session Input is available on a pair of RCA jacks. This input may be used for connecting two
mixers together or as a general purpose auxiliary input to the mixer. There is also an S/PDIF Session
Input that may be used in combination with the S/PDIF Session Output on another mixer to digitally link
mixers without converting to analog.
• There are two balanced microphone inputs on combination TRS / XLR jacks. Mic 1 has phantom power
available. Mic 2 may be set for Mic or Line level input.
• Stereo FlexFX Loop Return input is on a pair of unbalanced 1/4" TS jacks. These inputs are
automatically congured for mono when only one cable is connected to the left or right Return input.
The FlexFX Return input is normally used in combination with the FlexFX Send output to connect an
outboard analog effects processor.
Mixer Outputs
• Main Out is on a pair of balanced XLR jacks.
• Booth Out is on a pair of balanced 1/4" TRS jacks.
• Session Out is available on a pair of unbalanced RCA jacks, and digitally via S/PDIF on an RCA jack.
• FlexFX Loop Send output is available on a pair of unbalanced 1/4" TS jacks. For a mono FlexFX Send,
use the Left output. The FlexFX Send output is normally used in combination with the FlexFX Loop
Return input to connect outboard analog effects.
Two USB Ports
The Sixty-Four allows simultaneous connection of two computers. Each port is completely independent.
Rane's ASIO (PC) and Core Audio (Mac) drivers connect to most audio software. It is possible to
run Serato DJ on one computer while running third-party software on the other, Mac or PC, in any
combination. Either port connects to a single computer. See "Software Controls" on page 13.
MAIN OUT
SEND
PHONO
GROUNDS
MIC 1
MIC 2
SESSION
AUX
ANALOG INPUTS
MIC INPUTS
LEFT (MONO)
100-240V 50/60 Hz 15 WATTS
LEFT
RIGHT
ACN
001 345 482
MADE IN U.S.A. RANE CORP.
RIGHT
RETURN
SESSION
FLEXFX LOOP
LEFT
RIGHT
USB A
USB B
BOOTH OUT
LEFT
RIGHT
IN
IN
OUT
R
L
1
3
R
L
4
IN
OUT
S/PDIF
2
PH - CD
PH - CD
OFF - +48
PH - CD
PH - CD
R
L
MIC - LINE
SIXTY-FOUR

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Deck Input Channels
Source Selectors
For control of opposing decks, the
center channels of the Sixty-Four
are wired to Decks 1 and 2, and
the outside channels are wired to
3 and 4. This places pairs of decks
centered over the crossfader. For a
shared set example, the rst DJ can
take Decks 1&2, and the second DJ
can take Decks 3&4.
The source selectors choose the active USB port, USB audio slot or analog input for each input channel.
Deck 3 Source
Selections
Deck 1 Source
Selections
Deck 2 Source
Selections
Deck 4 Source
Selections
Port A playback
for Deck 3
•USB audio slots 1-2.
•Routes audio and
MIDI for Deck 3 only
to/from USB Port A.
Port A playback
for Deck 1
•USB audio slots 3-4.
•Routes audio and
MIDI for Deck 1 only
to/from USB Port A.
Port A playback
for Deck 2
•USB audio slots 5-6.
•Routes audio and
MIDI for Deck 2 only
to/from USB Port A.
Port A playback
for Deck 4
•USB audio slots 7-8.
•Routes audio and
MIDI for Deck 4 only
to/from USB Port A.
•Phono / CD 3
•PH-CD switch on the
rear panel.
•Phono / CD 1
•PH-CD switch on the
rear panel.
•Phono / CD 2
•PH-CD switch on the
rear panel.
•Phono / CD 4
•PH-CD switch on the
rear panel.
• Aux Input (common to all selectors).
Port B playback
for Deck 3
•USB audio slots 1-2.
•Routes audio and
MIDI for Deck 3 only
to/from USB Port B.
Port B playback
for Deck 1
•USB audio slots 3-4.
•Routes audio and
MIDI for Deck 1 only
to/from USB Port B.
Port B playback
for Deck 2
•USB audio slots 5-6.
•Routes audio and
MIDI for Deck 2 only
to/from USB Port B.
Port B playback
for Deck 4
•USB audio slots 7-8.
•Routes audio and
MIDI for Deck 4 only
to/from USB Port B.
For details on sharing the Sixty-Four with a second computer, see "DJ Swapping" on page 25.
3B 2B 4B1B3A 2A 4A1A
PH/CD 3 AUX PH/CD 2 AUX PH/CD 4 AUXPH/CD 1 AUX
3124
mix pair 1-2
mix pair 3-4
CONTROL CONTROL CONTROLCONTROL

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Deck Source Selection is followed by:
• Level (gain trim)
•Off to +12 dB with unity gain at 12 o’clock.
• Q-peak meter with peak hold
•Adjust the channel Level to get the signal into the
yellow during peaks, and to prevent overload.
• 3-band isolator EQ
•Off to +6 dB with unity gain at 12 o’clock.
• High-pass / low-pass Filter
•No effect at the center (at response).
•Low-pass lter cutoff moves from 20 kHz toward
20Hz as the knob is turned CCW.
•High-pass lter cutoff moves from 20 Hz toward
20kHz as the knob is turned CW.
• Crossfader assign
•Routes the Deck to Crossfader A-side, Post-
crossfader or B-side.
• FlexFX assign
•Takes a Deck out of the Main Mix and sends it to the
FlexFX Loop. See "FlexFX Loop" on page 16.
• Cue select
•Assigns a Deck to the headphone monitor.
• Channel Fader
•All four channel faders share the Fader Contour
control, adjustable from a fast cut (left) to a smooth
fade (right).
• Crossfader
•The magnetic crossfader is easily cleaned or eld-
replaced. See "Fader Maintenance" on page 32.
•Use the Crossfader assign switches to send each
Deck to the A-side, B-side or Post-crossfader.
•Adjust from a fast cut (left) to a smooth fade (right)
with the Crossfader Contour control.
Headphone Cueing
• The Headphone monitor provides stereo or mono split cue operation.
•When set for stereo operation (dim), the Pan control pans between stereo Cue and
stereo Main Mix.
•When set for Split Cue operation (bright), the Pan control pans between Mono Cue in
the left ear and mono Main Mix in the right ear.
• Individual Cue buttons are provided for Deck 1, Deck 2, Deck 3, Deck 4 and FlexFX.
• Cue buttons are solo, meaning when a Cue is selected all other Cues are turned off. If
you wish to listen to more than one Cue at a time, press both buttons at the same time.
• The Phones control sets the level to the headphone jacks.
• Headphones output is available on two 1/4" jacks, one on the front and one on the top.
An additional 3.5 mm jack is located on the front. All share the same signal.

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Software Controls
Control Assignment
Press the Deck 3 / 1 button to assign the left-hand controls to Deck 3 or
Deck 1. Similarly, press the Deck 2 / 4 button to assign the right-hand
controls to Deck 2 or Deck 4. The Control LED under each source selector
shows the currently assigned Deck. The source selectors route Audio and
MIDI to and from USB Port A or Port B. See "Source Selectors" on page
11. MIDI button backlighting is independently maintained for each USB
port and each deck. This way audio and MIDI assigned to one USB port do
not interfere with audio and MIDI assignments on the other port.
Library Scroll and Load
The Tab button sets the cursor in the Serato DJ Crates column. Rotate the
Scroll encoder to highlight the desired Crate then press the encoder down
to select it. This crate selection puts the cursor in the song column. Turn
the Scroll encoder to select a song and press the encoder down to load it.
Library controls have xed functions and are not affected by the selected
MIDI Layer (see Layers below).
Auto Looping Controls
The LOOP encoder selects the auto loop length in Serato DJ. This can be
adjusted while an auto loop is already looping. The Loop button performs an
auto loop of the number of Bars selected. The Roll button performs a Loop
Roll of the number of Bars selected. See Looping in the Serato DJ manual.
Slip
When Slip Mode is active you can manipulate the audio as normal (e.g.,
Scratch, Loop, Cues etc.). However, once you have nished, playback is
returned to where it would be if you had not manipulated the audio.
Sync
Press to turn on and Sync a Deck. If Sync is already on, pressing Sync again
re-syncs the Deck. Hold down the Shift button and press Sync to turn Sync
off. See Sync in the Serato DJ manual.
3B 2B 4B1B3A 2A 4A1A
LAYER 1
(CUE / LOOP)
(SAMPLES)
SYNC OFF
(CUE / LOOP)
(SAMPLES)
SYNC OFF
LAYER 2
LAYER 3
LAYER 4
LAYER 1
LAYER 2
LAYER 3
LAYER 4
SCROLL / LOAD
LOOP
SYNC
LAYER
SCROLL / LOAD
LOOP
ROLL
SLIP
LOOP
SYNC
LOOP
ROLL
SLIP
PH/CD 3
Port A
= green
Alternates strip control
assign to Deck 3 or 1.
Assign to
Deck 2 or 4.
Port A = green
Port B = orange
Port B
= orange AUX
CONTROL
PH/CD 2 AUX
CONTROL
PH/CD 4 AUX
CONTROL
PH/CD 1 AUX
CONTROL
BANK
1 5
2 6
3 7
4 8
LAYER
5 1
6 2
7 3
8 4
DECK 3 / 1
3124
TAB
DECK 2 / 4
TAB
BANK

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SIXTY-FOUR
3B 2B 4B1B3A 2A 4A1A
LAYER 1
(CUE / LOOP)
(SAMPLES)
SYNC OFF
(CUE / LOOP)
(SAMPLES)
SYNC OFF
LAYER 2
LAYER 3
LAYER 4
LAYER 1
LAYER 2
LAYER 3
LAYER 4
SCROLL / LOAD
LOOP
SYNC
LAYER
SCROLL / LOAD
LOOP
ROLL
SLIP
LOOP
SYNC
LOOP
ROLL
SLIP
PH/CD 3
Port A
= green
Alternates strip control
assign to Deck 3 or 1.
Assign to
Deck 2 or 4.
Port A = green
Port B = orange
Port B
= orange AUX
CONTROL
PH/CD 2 AUX
CONTROL
PH/CD 4 AUX
CONTROL
PH/CD 1 AUX
CONTROL
BANK
1 5
2 6
3 7
4 8
LAYER
5 1
6 2
7 3
8 4
DECK 3 / 1
3124
TAB
DECK 2 / 4
TAB
BANK
MIDI Triggers 1-8
The Bank button selects triggers 1-4 or 5-8. The colored line on the panel
matches the color of the Bank button for 1-4 (orange) or 5-8 (red). Each MIDI
layer has unique mappings for the triggers.
MIDI Layer 1: Cues and Loops (Fixed) Layer 3: All Cues (User Modifiable)
Trigger 1: Cue point 1 Trigger 1: Cue point 1
Trigger 2: Cue point 2 Trigger 2: Cue point 2
Trigger 3: Cue point 3 Trigger 3: Cue point 3
Trigger 4: Cue point 4 Trigger 4: Cue point 4
Trigger 5: Loop 1 Trigger 5: Cue point 5
Trigger 6: Loop 2 Trigger 6: Cue point 6
Trigger 7: Loop 3 Trigger 7: Cue point 7
Trigger 8: Loop 4 Trigger 8: Cue point 8
MIDI Layer 2: Sample Player (Fixed) Layer 4: All Loops (User Modifiable)
Trigger 1: Sample 1 Trigger 1: Loop 1
Trigger 2: Sample 2 Trigger 2: Loop 2
Trigger 3: Sample 3 Trigger 3: Loop 3
Trigger 4: Sample 4 Trigger 4: Loop 4
Trigger 5: Sample 5 Trigger 5: Loop 5
Trigger 6: Sample 6 Trigger 6: Loop 6
Trigger 7: Increment Sample Bank Trigger 7: Loop 7
Trigger 8: Decrement Sample Bank Trigger 8: Loop 8
MIDI Layers
There are four possible MIDI layers, and each MIDI Layer is a unique MIDI
channel that corresponds to the Layer number. To select a layer, press and
hold the Layer button and press a button 1-4. A layer can be unique for each
Deck and for each USB port assignment. When the Layer button is pressed,
the current Layer 1-4 button is lit. The mapping for each layer is shown
above. Note that mappings for Layer 1 and Layer 2 are xed while Layer 3
and Layer 4 may be changed by the user.

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15
SIXTY-FOUR
Microphone Inputs
There are two fully independent mic inputs. Each has these controls:
• On / Off switch.
• Level Control.
• Left / Right Pan.
• One-knob spectral tilt Tone control:
•Increasing highs reduces lows by the same amount.
•Decreasing highs increases lows by the same amount.
• FlexFX Assign:
•Takes the signal out of the Main Mix and sends it to the FlexFX Loop.
• Mic 1 can provide 48 volt phantom power for a condenser mic:
•The 48V phantom power on/off switch is on the rear panel.
• Mic 2 allows a Mic level or Line level input for a wireless mic:
•The Mic / Line switch is on the rear panel.
• Unused Mic inputs can be MIDI controls. See "Mic Bypass Mode" on page
28.
Main Mix
• These signals combine to make the Main Mix signal:
•Deck 1, Deck 2, Deck 3, Deck 4.
•Mic 1 and Mic 2.
•Session Input.
•FlexFX Mix.
• The Main Mix has these outputs:
•Main:
•Balanced XLR jacks;
•Maximum output 8 volts rms.
•Booth:
•Balanced 1/4" TRS jacks;
•Maximum output 8 volts rms.
•Session:
•Unbalanced RCA jacks;
•Maximum output 4 volts rms.
•S/PDIF digital on one RCA jack.
• Common to all Main Mix outputs:
•Stereo or Mono (default is stereo). See "Main Mix Options Menu" on page 24.
•Left / Right Balance control.
•Stereo Q-peak meter with peak hold;
•If the red overload LED is off, the mixer will not clip at any output level setting.
• Main, Booth and Session outputs have independent Level controls; range is off to 0 dB.
Cabling Note: When using unbalanced 1/4" TS cables from the Booth Outputs or RCA
cables from the analog Session outputs, keep cables short, less than 3 meters (10 feet) to
avoid hum and interference. Balanced 1/4" TRS or XLR cables are the best choice, allowing
greater distance runs without problems.

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16
SIXTY-FOUR
FlexFX Loop
The FlexFX loop is a submix that may include any combination of the four Deck
Inputs, Mic 1 and Mic 2. This allows you to create a unique submix, add internal
or external effects to the submix, and record or rehearse the submix.
• The FlexFX Loop consists of these elements in order of processing:
•Internal Effects Engine (see "Effects Engine" on page 17).
•External Analog Insert Loop
•Signal is always present at the analog FlexFX Loop Send.
•Press Ext. Insert for input from the 1/4" FlexFX Loop Return jacks.
•Adjustable Sensitivity (see "Ext. Insert Options Menu" on page 23).
•USB Inserts
•Signal is always sent to the USB A and USB B sends.
•Press A Insert to return through USB Port A.
•Press B Insert to return through USB Port B.
•Only one USB Insert return can be active at any time, choose A or B.
Note: External and USB Inserts are selected individually and available with or
without an internal effect.
• FlexFX Cue monitor “listens” to the affected signal before it is introduced to the
Main Mix through the Level control and the On switch.
• The LEVEL control sets the level of the FlexFX signal in the Main Mix.
•Use when mixing a unique submix.
•Use when the level of an effected signal needs adjustment.
• FlexFX On switch
•When off, this bypasses the internal effects, 1/4" analog insert and the USB inserts. What you hear in
the Main Mix is a dry version of any signal assigned to the FlexFX Loop.
•When On, the signal is processed by any selected internal effect, Ext. Insert or USB insert.
•This switch is an on/off switch for the entire loop.
•This switch is not an on/off switch for the internal effects engine. These effects are turned on and
off individually with the blue effect select buttons.
If the FlexFX Level is turned up and the FlexFX loop is off (bypassed), there is no change heard in the Main
Mix when a channel is assigned to FlexFX. In this instance, it is possible to add internal or external effects
to the signal and Cue the effected signal in the headphones before turning the FlexFX loop ON. It is also
possible to have the FlexFX Level turned down, FlexFX loop On or off, create a submix, add effects (or
not) and Cue or rehearse the mix before bringing it into the Main Mix with the Level control.
The FlexFX submix may be recorded separately via the USB send (slots 9-10) or the 1/4" analog send.
FLEXFXDECK 3
FLEXFXDECK 1
FLEXFXDECK 2
FLEXFXDECK 4
FLEXFXMIC 1
FLEXFXMIC 2
MAXMIN
DEPTH
FILTER
EXT. INSERT
SEND
BEAT
TIME
TAP
PHASERFLANGER
ROBOTECHO REVERB
ON
FLEXFX ON
BYPASS
ON
RETURN
SEND
Effects
Engine
LEFT
RIGHT
RETURN
LEFT
RIGHT
SEND
A RETURN
SEND
RETURN
A
Main
Mix
B RETURN
A
B
B
INSERT
Cue
Bus
CUE
MAX
MIN
FLEXFX
LEVEL
FLANGER -Fb
BPM:120 * 4:1
2000 ms

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17
SIXTY-FOUR
Effects Engine
The internal effects engine is located in the FlexFX Loop. This allows any
combination of Deck 1, Deck 2, Deck 3, Deck 4, Mic 1 and Mic 2 to be assigned
to an effect. The FlexFX Loop supports recording, cueing and Main Mix level
control of assigned channels. There are six built-in effects:
•Filter • Flanger •Phaser •Hold Echo •Robot •Reverb.
Effects share these general behaviors:
• The effect time is saved for each effect.
• Changing BPM for one effect changes the BPM for all effects.
• Tapping the BPM requires at least two taps.
• Changing the Beat multiplier results in an immediate change in effect time.
• Changing the effect time adjusts the multiplier for other effects so that the new
multiplier is as close as possible to the saved effect time.
Typical workow for assigning a deck to an effect is to assign the deck to the
FlexFx Loop, select the desired effect and then turn the effect ON. Note that LFO
effects are synchronized when the FlexFx button is turned ON to ensure that they
start on-beat as expected.
FILTER Effect
The Filter Effect has a swept LFO synchronized to a selected BPM that sweeps
the frequency of the selected lter type. There are four lter options:
• High-pass lter with high-frequency sync.
• High-pass lter with low-frequency sync.
• Low-pass lter with high-frequency sync.
• Low-pass lter with low-frequency sync.
To sync to the BPM at the high point of the sweep, choose high-frequency sync.To sync to the BPM at the
low point of the sweep, choose low-frequency sync. The type of lter is selected in the menu on the mixer
in the "Filter Effect Options Menu" on page 23, or in the "Effects Screen" on page 27. Operation of
controls for the lter is dened in the "Effects Parameter Table" on page 20.
FLANGER Effect
Flanging is an audio effect produced by mixing two identical signals together, with one signal delayed
by a small and gradually changing period, usually smaller than 20 milliseconds. This produces a swept
comb lter effect. Varying the time delay causes these to sweep up and down the frequency spectrum.
Part of the output signal is fed back to the input producing a resonance effect which further enhances the
intensity of the peaks and troughs. The Flanger has two possible modes of operation:
• Positive feedback.
• Negative feedback.
The type of feedback is selected in the menu on the mixer in the "Flanger Effect Options Menu" on page
23, or in the "Effects Screen" on page 27. Operation of controls for the Flanger is dened in the
"Effects Parameter Table" on page 20.
PHASER Effect
The Phaser effect is created by splitting an audio signal into two paths. One path treats the signal with
one or more all-pass lters. When signals from the two paths are mixed, the frequencies that are out
of phase cancel out, creating the phaser's characteristic notches. An LFO (low frequency oscillator)
modulates the frequency of the all-pass lters. Operation of controls for the Phaser is dened in the
"Effects Parameter Table" on page 20.

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SIXTY-FOUR
ECHO Effect
Echo is an audio effect which records an input signal and then plays it back after a period of time. The
delayed signal may be played back multiple times to create the sound of a repeating, decaying echo. The
amount of recirculation determines the echo decay rate. There are four available Echo options:
• Echo with no feedback lter and adjustable recirculation 0 to 70%.
• Hold Echo with no feedback lter and adjustable recirculation of 0% to 100%.
• Low-Cut Echo with adjustable feedback lter and adjustable recirculation 0 to 70%.
• Low-Cut Hold Echo with adjustable feedback lter and adjustable recirculation of 0% to 100%.
The two feedback-lter types help reduce a “muddy” sound that can result when using a lot of
recirculation. The type of Echo is selected in the menu on the mixer in the "Echo Effect Options Menu" on
page 23, or in the "Effects Screen" on page 27. Operation of controls for the Echo is dened in the
"Effects Parameter Table" on page 20.
ROBOT Effect
The Robot effect is a pitch-shift type that shifts pitch by an amount indicated on the display bar-graph.
The range is -100% (minus one octave) to +100% (plus one octave). Operation of controls for the Robot is
dened in the "Effects Parameter Table" on page 20.
REVERB Effect
The Reverb effect can give the impression of a larger more reverberant space. In other words, it can
make a small room sound like a much larger room. Reverberation is created when a sound is produced
in an enclosed space causing a large number of echoes to build up and then slowly decay as the sound
is absorbed by the walls and air. This is most noticeable when the sound source stops but the reections
continue, decreasing in amplitude, until they can no longer be heard. The length of reverberation
time is dependent on the size and acoustic character of a room. The bar-graph indicates the level of
reverberation. 100% is most reverberant and 0% is least reverberant. Operation of controls for the Reverb
is dened in the "Effects Parameter Table" on page 20.
Effects Display and BPM Source
The effects display shows the name of the current
effect, BPM, MIDI beat clock source, Beat Multiplier
and Time. A bar graph represents the effect time
relative to its range. If no effect is selected, the
information for the last effect is displayed. The
display for Robot and Reverb is somewhat different
as outlined below. There four possible BPM sources:
• (*) Manual Tap.
• (S) Serato DJ software.
• (A) USB A Beat-Clock.
• (B) USB B Beat-Clock.
To change the BPM source, press and hold the TAP button and use the BEAT
joystick to step through the sources. If a new BPM is manually tapped in or
the TIME encoder is manually altered, the BPM source returns to (*) Manual.
The effect time is normally a product of the BPM and the Beat Multiplier. If the right arrow or left arrow
appears, there is an inequality between the BPM*Beat and Time. The arrow indicates which way to
adjust the Beat Multiplier to correct the inequality and get the closest possible time. If the BPM source is
displayed (*, S, A, B), the BPM*Beat matches the displayed Time.
PHASER
BPM:120 * 4:1
2000 ms
effect name
time range
*, S, A, B
multiplier
BPM
time

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SIXTY-FOUR
For example, 120 BPM with a 4:1 Beat Multiplier would result in an effect Time of 2000 ms. If the Time is
adjusted to a different value, such as 2097 ms, an arrow indicates that the product of the displayed BPM
and Beat Multiplier does not result in the displayed effect Time. For this example, 2000 ms is below 2097
ms. In this case, moving the BEAT joystick left or down snaps to 120 * 4:1 and changes the time to 2000
ms.
A ashing Beat Multiplier indicates that the Time required to match the current BPM*Beat is out of range.
For an Echo example, if a BPM of 60 is used with a Beat Multiplier of 8, the resulting time is 8000 ms. If
the multiplier is set to 16, the resulting time would be 16000 ms, which is out of range. In this case, the
time remains at 8000 ms and the multiplier ashes.
Effects Synchronization
The mixer can synchronize its internal effects to four sources as described
previously. The desired clock source is selected by holding down the TAP
button and pushing the BEAT joystick up/right or down/left. The selected
source (*, S, A, B) is displayed just following the BPM number. Manually
tapping a BPM forces the selection to (*) Manual.
Pressing a FlexFX button with no other FlexFX button engaged, with a BPM-tagged song playing in
Serato DJ on the same channel, forces the clock source to (S) Serato DJ. The mixer will continue to track
the Serato DJ BPM until a new BPM is manually tapped or a new clock source is selected. When one of
S, A, or B is selected, the clock source indicator will ash when the mixer is actively following the selected
clock.
At any point the BPM and BPM source can be locked. By clicking down on the Joystick, the current BPM
is frozen and the BPM source is set to (*) Manual and locked. The BPM label on the display ashes to
indicate that the BPM source has been locked. The mixer will not change the BPM or BPM source until
the user manually enters new BPM or time information, changes the BPM source, or unlocks the BPM by
clicking down once more on the Joystick.
Regardless of the clock source, the mixer broadcasts the current MIDI beat clock to both USB ports when
the Send MIDI Beat Clock option is selected in the MIDI Conguration page of the driver control panel.
Both USB ports will also echo out any system real-time messages from the host computer. See "MIDI
Conguration Screen" on page 28.

OWNER’S MANUAL
20
SIXTY-FOUR
Effects Parameter Table
Effect Depth Knob Time Encoder Tap Button Beat Joystick Shift or Control
Panel Option*
Filter
Adjusts the strength of
the effect.
Adjusts the LFO time
independent of the
current BPM and Beat
Multiplier.
Holding down the
Shift button and
turning the Time
encoder adjusts the
BPM.
Pressing the Time
encoder re-syncs the
effect.
The Tap button
manually enters a
new BPM.
A minimum of two
taps is required to
get a new BPM.
The mixer can sync
these effects to
different sources.
See "Effects
Synchronization"
on page 19.
Adjusts the BPM
multiplier to change
the number of bars.
Up increases the
multiplier and down
decreases the
multiplier.
Available multiplier
values are: 1/16, 1/8,
1/4, 1/2, 3/4, 1/1, 2/1
4/1, 8/1, 16/1, 32/1
and 64/1. (64/1 not
available in Echo).
Press down on the
Beat joystick to Lock
the current BPM. This
prevents the current
BPM from changing
until you manually
change the BPM,
Time, BPM Clock
Source, or click the
Beat Joystick button
again to unlock
it. Locked BPM is
indicated by “BPM”
ashing in the display.
• High-pass Filter with
low frequency point
sync.
• Low-pass Filter with
high frequency point
sync.
Flanger
• Flanger with positive
feedback.
• Flanger with negative
feedback.
Phaser None
Echo
Adjusts the amount
of echo recirculation,
which in turn affects
how quickly the echo
effect decays. The
amount of recirculation
varies with the echo
options selected (see
last column). Setting
the control to minimum
or “0” results in a
Dry signal with the
minimum recirculation
setting. Setting the
control to maximum
or “10” results a Wet
signal with maximum
recirculation.
Adjusts the length of
the recorded sample
used by the echo.
Holding down the
Shift button and
turning the Time
encoder adjusts the
BPM.
Pressing the Echo
button clears the
echo. Time range is 1
ms to 10920 ms.
• Echo: No feedback
lter. Recirculation is
adjustable 0-70%.
• Hold Echo: No
feedback lter.
Recirculation is
adjustable 0-100%.
• Low-cut Echo:
Feedback lter
adjustable from
20 Hz to 10 kHz.
Recirculation is
adjustable 0-70%.
• Low-cut Hold Echo:
Feedback lter
adjustable from
20 Hz to 10 kHz.
Recirculation is
adjustable 0-100%.
When either Hold Echo option is selected, it is possible to suspend an echo. To engage
suspend, press the Time encoder. The Echo button ashes, indicating that suspend is
active. Suspend terminates input to the delay memory while continuing to play delay memory
indenitely. Press the Time encoder again to terminate suspend. If you want a suspended echo
to gradually decay, turn the Depth knob CCW. If you want the decay to stop, turn the Depth
knob back to or above where it was at when suspend was engaged.
Robot
Adjusts the wet/dry
mix and warble of the
robot.
Adjusts the % of pitch
shift, shown by the
bar in the display.
Pressing the Time
encoder resets pitch
shift to 0%.
Does not affect the
robot.
Adjusts the pitch up/
right or down/left in
20% steps.
None
Reverb Adjusts reverb
intensity.
Adjusts the % of
reverb decay time,
shown by the bar in
the display.
Does not affect
reverb.
Adjusts the decay
time up/right or down/
left in 10% steps.
*Effect options
available in the "Shift
Options" on page 23
or in the "Driver Control
Panel" on page 26.