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Best usb mixer 2018 – [Buyer’s Guide]Last Updated October 1, 2019
Best usb mixer of 2018
Like choosing clothes or cosmetics, choosing usb mixer should be based on your purpose, favorite style, and financial condition. Now, let’s get to the gist of the matter: which are the best usb mixer for the money?
If you get well acquainted with these basics, you shouldn’t have a problem choosing a usb mixer that suits your need. The best usb mixer will make your fairytale dreams come true!
Test Results and Ratings
Why did this usb mixer win the first place?
I really enjoy the design. It is compact, comfortable and reliable. And it looks amazing! I am very happy with the purchase. It is definitely worth its money. The product is top-notch! I also liked the delivery service that was fast and quick to react. It was delivered on the third day. The product is very strong. Its material is stable and doesn’t crack.
Why did this usb mixer come in second place?
Managers explained me all the details about the product range, price, and delivery. The design quality is top notch and the color is nice. The material is pretty strong and easy to wash if needed. I like this product. For such a low price, I didn’t even hope it to be any better. It’s decently made.
Why did this usb mixer take third place?
This price is appropriate since the product is very well built. It doesn’t squeaks nor bents. Looks great in my apartment. It is inconvenient to use due to the size. I am going to get something different next time. We are very pleased with the purchase — the product is great!
usb mixer Buyer’s Guide
Alesis MultiMix USB FX Audio Mixer
Powered mixers come with built-in amplifiers, so they perform two tasks simultaneously and allow for an even more streamlined and centralized operation. With these, you don’t need a separate amplifier, simplifying setup and reducing potential clutter. Since it houses the amplifier, all the amp controls are also accessible within the unit. Passive mixers on the other hand require a separate amplifier to work, and along with it extra cables. While it does complicate setup, it makes troubleshooting easier since the two units are separated, also reliability is better since there are fewer components within the mixer.
The general consensus is that this powered mixer is exceptionally good, providing clear sounds that are supported by complementary features that do not complicate control. An expert reviewer mentioned the mixer’s impressive room calibration and correction system, which can be done using a mic plugged in channel 1, quite nifty especially for those who are new to handling mixers. Other positive mentions include the 9-band graphic EQ, the one knob compressor and the feedback compressor, all of which have helped many users in getting the sound right and keeping it right.
There’s aren’t many complaints, aside from some nitpicking. There was an experienced user who didn’t like the idea of a built-in compressor, and the same user also want the flexibility offered by a separate power amplifier.
From small acoustic groups to full-on bands with miked drums, many reviewers found the XR1220 more than satisfactory. Users have reported using it for clubs and churches, and some even use it for their studios, which is a testimony to its overall sound quality and control. Also note worthy is how many customer reviews praised the mixer’s intuitiveness, stating that it is very easy to setup and configure, and that they had it running in no time.
The ratings for this mixer would’ve been higher if not for some negative scores due to shipping issues, there are also some who reported finding defects out of the box. Thankfully these are rare, and can be resolved via warranty. There were also those who found the power amp section lacking for their bigger venues.
Your Recording Options
There are primary ways you can record. Either straight to your computer or by using external devices like a digital recorder and a mixer. How you record will also determine your pre-production (what you do before recording) and post-production (what you do after the recording) workload. I recommend recording into an external device like a digital recorder and NOT into your computer.
Digital recorders are dependable. They record via a microphone input directly onto an SD card. Computers are much more likely to have corrupt files, errors, or other technical issues. The following suggestions are based on using an external recording device like a digital recorder and are all pieces you’ll want to consider before starting your podcast.
Choosing a Microphone
One aspect you should know is the difference between dynamic and condenser mics. Dynamic mics are more affordable, rugged, and direct. Condenser mics are typically more expensive, fragile and sensitive. Many people suggest condenser mics over dynamic mics, but I disagree with this for a few reasons. The main reason being that condenser mics pick up EVERYTHING. Unless your recording area is a professional sound booth, a condenser mic will pick up all of your room noise- creaky chairs, computer fan hum, cars driving by outside- you name it.
Dynamic mics on the other hand are perfect for recording in a small room or basement setting. They offer quality sound with a higher degree of control over room noise.
Entry-level: Audio-Technica ATR2100-USB Cardioid Dynamic USB/XLR Microphone. Nice sound for the price point. XLR (for plugging into a mixer) and USB (for plugging into a computer) outputs. Trustworthy company.
Standard: Shure SM58-LC Cardioid Vocal Microphone. This is the industry staple for live performance. Reasonably priced, high quality, and very durable. This would easily fulfill your podcast needs.
High-end: Heil PR-40 Dynamic Studio Recording Microphone. This is one of the best rated dynamic mics around. Used by successful podcasters like Pat Flynn of Smart Passive Income, John Lee Dumas from Entrepreneur on Fire, and Cliff Ravenscraft from the Podcast Answer Man. This mic will not disappoint.
Don’t forget to pick up some mic filters or popscreens to help give you a clean sound. The inexpensive Nady pop filters should work just fine.
Choosing a Mixer
Fortunately, many excellent and comparable recorders exist. When purchasing a recorder, you’ll want to consider things like how will you be using it (in the field, in the studio, or both) and what kind of features are “must-haves.” The best thing to do is ask others who have experience with specific models, but the following two devices is a good place to begin.
Roland R-0Studio WAVE/MPRecorder. Roland makes excellent products and the R-0is one of them. My two favorite features of this recorder are its size (slightly larger than a pack of cigarettes) and the record/pause feature (allows you to pause a recording instead of completely stopping and starting a new one). The downside is it doesn’t have an XLR mic input.
TASCAM DR-100mkII 2-Channel Portable Digital Recorder.This model is used by Alex Blumberg in recording his podcast ‘StartUp’. The Tascam offers a durable construction, XLR inputs, and two sets of microphones for cardioid or omni-directional pickup.
The following equipment are suggestions based on your setup and needs.
Behringer MDX1600 2-Channel Expander/Gate/Compressor/ Peak Limiter Simply put, this device helps remove unwanted room noise and prevent noise from being too loud. The more you work with audio, the easier it becomes to hear the differences and appreciate a tool like this.
You should always wear headphones when recording and editing your podcast. The kind you typically find at the department store probably aren’t good enough. Try to find a pair of headphones that are used for monitoring like the Sony MDR750Professional Large Diaphragm Headphone.
Other equipment like equalizers and preamps exist but their use in your professional podcast set-up is dependent on many of the factors we’ve already discussed.
Stay tuned for Part of our podcasting series next week.
In a modular DJ setup, like the one pictured on the left, you buy your music players (a.k.a. decks, CDJs, turntables) separately, and then plug their outputs into the inputs of a DJ mixer. The mixer combines these different audio signals and lets you control their volume levels and EQ settings individually. The output of the mixer then gets sent out to your sound system (and thus the DJ mixer has a master volume knob). In the case of an all-in-one DJ controller (pictured on the right), the two decks and mixer are all fused into one system. Typically, you use a controller like that to control DJ software running on your laptop (like Serato, TRAKTOR, or rekordbox dj).
Both the modular and all-in-one setup have their pros and cons. In this guide we’ll focus on the modular setup, since that’s the one that needs a DJ mixer. The advantage of a modular setup is that you can buy all the components separately, and you’re not necessarily tied to a single brand for the whole thing. You might want Pioneer decks, but an Allen & Heath mixer, for example. Since you can mix and match (no pun intended), you can also upgrade individual pieces when you’re able to. For instance, you can upgrade your DJ mixer from an entry-level to a pro-level one whenever budget allows. Furthermore, standalone DJ mixers tend to be higher quality than those integrated into all-in-one DJ controllers.
With a modular DJ setup you also don’t necessarily need a laptop running DJ software to perform. The setup can stand alone, playing music from vinyl records, CDs, or USB drives – whichever you prefer. DJing in the traditional way involves little more than two turntables, a 2-channel DJ mixer, headphones, and a crate of records – absolutely no computer required. Another type of DJ that can benefit from the modular setup is a turntablist that relies on scratching and beat juggling. In this case, the quality of the faders is particularly crucial, and some DJ mixers are built specifically with turntablists in mind (with a superior crossfader, for example).
What To Look For in a DJ Mixer
DJ Mixers are not simple – to the untrained eye most of them look like a spaceship control center with dozens of knobs, buttons, and sliders. Luckily, there are a few key things you should look for, to decide what the best DJ mixer is for you.
The most important thing to consider is how many channels you require. DJ mixers have at least channels, meaning two different audio sources can be plugged in, and their audio signals mixed together. Every channel has a dedicated channel strip, where the audio source’s volume and EQ can be controlled (all mixers work this way, not just specifically DJ mixers). 4-channel mixers are also quite common, allowing you to plug in – you guessed it – audio sources. Thing is, channels is all you absolutely need as a DJ. As your skills progress maybe you’ll want to play with more than two turntables, or plug in additional toys like samplers, drum machines, etc. For this reason, it doesn’t hurt to invest in a mixer with more than channels, even if is all you’re using at the moment.
Brand and quality: Unless you’re just building a DJ setup for practicing at home, chances are you’ll be gigging with your mixer. In the middle of a performance, few DJs have time to think about being extremely careful with their equipment – your mixer’s knobs and faders will take some abuse. Depending on how the venue is set up, your gear might get knocked around or even have a drink or two spilled on it. It’s important that whoever manufactures the mixer has experience making quality gear, and will stand behind it in case there’s a defect or something breaks prematurely.
Effects and other features: Every DJ mixer has a few very basic components: channel strips (volume controls and EQ), a crossfader, a jack for your headphones, and outputs to hook the mixer up to your sound system. However, most DJ mixers throw in extra features, some of which will be useful to you, and some which will go unused. This includes effects, filters, USB connectivity, more complex I/O, integrated audio interface, and more. More features typically lead to a higher price tag.
Special uses: Some DJ mixers are very straightforward, and are useful for any type of setup and style of DJing. Others are built for more specific purposes. The Native Instruments TRAKTOR KONTROL Z2, for example, will integrate tightly with TRAKTOR DJ software. The DJ Tech DIF-1S is particularly good for scratching.
The first knob you will encounter on a channel strip is always the gain control. This knob allows you to ensure the signal you’re working with is at a normal processing level. Many sound sources work at an input level far below an accepted processing level so a gain control allows you to boost the signal so it is workable. It also works to attenuate a signal that is too hot for processing. All of this is done by using the soundboard’s built in pre-amplifier. After the gain control, the signal passes through to dynamic processing.
A compressor is an electrical unit that attenuates high volume signals while boosting lower volume ones. Many soundboards come equipped with compressors either for each individual channel, a few individual channels, and/or one for the output. Compressors are very important to maintaining a reasonable even volume for the speakers and the listener. When looking for a mixer, you want as many compressors as you can get.
A filter is an electronic unit that cuts out the extremities within the frequency spectrum. There are two types of filters; low end and high end. A low-end filter cuts out the lower frequencies and a high-end filter cuts out the higher ones. This coupled with gating can eliminate nearly if not all microphone bleed.
Since many mixers support both live sound and recording functions, the distinction between these two types isn’t always clear. Today there are numerous audio mixers that will meet both your onstage and recording needs.
Mixer Terminology—The Basics
As you shop for a mixer, you’ll run across terms that may be unfamiliar. To help you decipher the specs and features you’ll be reading about, we offer the following glossary that’ll help you navigate through all that information.
A channel insert allows you to connect external sound processors like compressors and equalizers to specific channels, usually after the preamp stage of the channel. On larger mixers there may be a patch bay that allows connection of numerous external devices.
Using the cue system you can listen in on selected channels without affecting the mixer’s output. Usually the signal is fed to a headphone amplifier or monitor speakers. Cue systems usually allow listening to the signal either before or after the fader has affected it. Pre-fader listening, abbreviated as PFL, lets you hear the original signal without sending it to a signal mix. After-fader listening (AFL) allows you to isolate the fader-affected signal, which is handy for troubleshooting signals. Some larger mixers have a Solo In Place (SIP) function that silences every channel other than the one being sampled, a useful feature when doing sound checks.
For instant changes to signal routing, flexible and extensive signal dynamics, and an amazing array of effects possibilities, a digital mixer is hard to beat. With the touch of a button, preprogrammed routing and effects can be triggered that would be impossible for even a talented octopus to accomplish on an analog audio mixer! Some digital boards are compatible with software plug-ins that extend their tone-shaping capabilities even further. They also can ride herd on dreaded feedback, preventing the howls and squeals before they even start. Another nice feature is automatic gating that silences channels with little or no signal passing through them.
The 16-channel Mackie DL1608L Digital Mixer is equipped with a Lightning connector for iPad control.
The PreSonus StudioLive 24.4.2AI digital mixer stores setups for instant recall, includes a bundle of tightly integrated software,and its advanced I/O options will handle just about any recording/performing scenario.
One potential downside of digital mixers grows out of their versatility. Their enormous flexibility comes with a price: The learning curve for mastering all the possibilities your mixer offers can be steep. That said, like any complex digital device, it’s usually not essential to learn every function—the ability to save the settings and configure the interface to your needs can help you cut through its complexity.
Soundcraft’s Si Expression digital mixer uses an intuitive color-coded interface to help navigate its extensive functions and features while delivering classic British EQ and mic preamp technology.
How well the user interface is designed will make a big difference in how quickly you can master the functions you need to know. Talking to fellow mixer users, hanging out on pro audio forums, reading reviews, and checking out demos and tutorials will help you find the mixers that offer a gentler learning curve.
If you’re looking for a mixer to handle your live performances and your main and monitor speakers are unpowered, a powered mixer eliminates the need to transport and set up separate power amplifiers to drive them. Powered audio mixers are available in a wide range of sizes and configurations. They can handle everything from a solo acoustic singer-guitarist using one or two mics, an acoustic-electric guitar, and modestly sized speakers, to a full-blown band with a full array of mics, electric instruments, and hefty main and monitor speakers.
Phonic’s Powerpod 740 Plus 2X220W 7-Channel Powered Mixer has dual 220W amps to drive PA speakers, dual 7-band graphic EQ, 1high-definition digital effects; stereo RCA I/O with trim control for digital media, rumble filters and phantom power supply.
Powered mixers offer most of the bells and whistles you’ll find on unpowered mixers in terms of routing options, effects processing, EQing, and much more. As with any mixer purchase, you’ll need to calculate the total inputs and outputs you need as well as the necessary power to drive your PA speaker cabinets and stage monitors.
The Peavey XR 8600D Powered Mixer has a pair of 600W Class D amps for powering main and monitor speakers, mic preamps, and line inputs.
Since most solo acts and bands that play in smaller venues must deal with their own sound engineering, ease of use is an important consideration. In recent years, integrated PA systems have entered the market that contain all the elements—speakers, mixer, and power amplifier—in one portable unit.
With their multiple turntables and/or CD players, DJs have a unique set of mixing needs to keep their music flowing seamlessly. DJ mixers are specially configured to meet those needs with the right inputs to handle DJ gear and integrate with PAs and club sound systems.
You’ll find DJ mixers vary considerably in their capabilities. Simple, low-cost units may have just two or three inputs and outputs and offer basic EQ/volume controls and crossfader operations that allow mixing the output of a couple turntables or CD players. More sophisticated DJ mixers add features such as kill switches for instant control over certain frequencies, hamster switches that reverse crossfader channel operation, and metering that displays clipping (distortion) and output levels. Mic inputs and talkover switches allow the DJ to easily communicate with the audience.
The Allen & Heath XONE:4DJ Mixeris a 4+channel DJ mixer that offers the very best of analogue audio quality, including the legendary Xone filter with resonance control, band EQ, crossfader with three curve settings and X:FX for send/return to your favourite FX unit.
Since the crossfaders on a DJ mixer take a beating, their replaceability is an important consideration.
The TRAKTOR KONTROL ZDJ mixer from Native Instruments is tightly integrated with the company’s TRAKTOR software to offer + channel control delivering standalone mixer channels plus remix deck channels.
As with any other mixer type, choosing the right DJ mixer is a process of considering the I/O you need, the functions that are critical to your show, and your budget.
Things to Look for When Shopping for a Mixer
If you’ve explored Musician’s Friend’s huge selection of mixing gear, you know there are a lot of possibilities out there. Beside the obvious question of your budget, here is a checklist of things to consider as you narrow down that selection of mixers to a short list of those best suited to your situation.
Application: Will you be using your mixer to record, play live, or both? If you want to use it exclusively for recording, mic preamp quality, and the ability to connect external processors are important factors.
For live-sound use, you’ll want to be sure the mixer is compatible with your existing sound system and offers enough connectivity and sound processing to handle your entire band. (See I/O and Channels below for more on this.) Ruggedness is important too—flimsily built mixers won’t handle the rigors of the road for long.
I/O and Channels: Consider how many mics you need to connect. (A miked drum kit can use up five or more inputs all by itself.) If you plan to use condenser mics, you’ll need mic inputs that supply phantom power for them. Also, if your band includes stereo keyboards and other such instruments, you’ll want enough stereo channels to accommodate them. If you plan to connect guitars or basses directly to the mixer, you’ll need sufficient direct inputs for them too. It’s always best to allow headroom by getting more I/O and channels than you currently need. Bands have a habit of growing in terms of both players and gear over time.
Buses and Signal Routing: These functions may be more important where recording is concerned. If you use a lot special-purpose mixes such as feeds to recording gear, monitors, headphones, and external effects mixes, you will need more routing flexibility and signal paths.
EQ Capabilities. How sophisticated are your EQ needs? Generally, studio recording requires finer tweaking of sound to sweeten your mix. Multiband parametric equalizers may be needed to achieve the level of sound quality you want. On the other hand, for simpler live-sound mixing, simple control over bass, mid, and high frequencies is all that’s needed.
Effects and Other Sound Processors: Do you rely on external mic preamps, effects pedals, and other tone tweaking gear to produce the sound you want ahead of the mixer? If so, internal mixer effects and sound processors are less critical. On the other hand, a mixer with onboard effects and sound processing makes for a very portable setup when playing live.
How we picked and tested
A USB mic worth its price should capture the whole range of the human voice—with all its pitches, tones, timbres, quirks, and flaws—and make it sound as good as it can be. Ideally, you could upload your recording without any fine-tuning as a podcast and have it sound good in someone else’s headphones.
Because a USB mic exists in the realm between built-in recording and the expandable, expensive world of studio-level microphones, the price point should be in that middle range, too. The same goes for its features: options for those who want to fiddle, but not a half-dozen switches and knobs that require adjustment for every single new recording situation. A crucial feature is a zero-latency headphone jack for hearing exactly what you sound like without any distracting delay. Also important is in-mic gain control, though our portable pick does a notably good job of that automatically. Read on in our pick to see why these are so important.
A crucial feature is a zero-latency headphone jack, for hearing exactly what the mic is sending to your computer without any distracting delay.
From interviews and narrowed-down lists, we tested the top-rated and most recommended microphones each year for three years. After recording samples and sending them with blind labels, Lauren Dragan and three or four other audio professionals did a blind listening of all the recordings and ranked them from to 10, best to worst. Included in the 201and 201panels: Brent Butterworth, a well-respected audio reviewer for SoundStage and Home Theater Review and a contributor to The Wirecutter; Phil Metzler, keyboardist and vocalist in the band Just Off Turner; John Higgins, professional pianist, guitarist, and educator in both vocal music and audio production at the prestigious Windward School in Los Angeles; and Geoff Morrison, freelance writer for Forbes, CNET, and Sound & Vision and a Wirecutter editor (working on the 201panel only). In 2016, five Wirecutter staffers also rated USB mic samples.
After placing these performance results alongside the microphones’ reviews, features, and price, we had our testing set. We tested seven microphones in 2016, including the two previous picks, the Yeti and the Samson Meteor.
Flaws but not dealbreakers
If you’re new to microphones and audio gear, you very well may speak into the Yeti the wrong way your first few times. The Yeti is a side-address microphone, meaning the mic should be positioned so the side of the microphone with the volume and mute buttons faces you. The Yeti’s curved, swiveling-stand design, however, can lead you to believe you should speak into the end of the mic, as you would with more a common end-address mic. But this is a mistake that listeners will definitely be able to hear.
Long-term test notes
Lauren used the Yeti for more than nine months after her 201tests without experiencing any problems. Kevin Purdy has used a Blue Yeti since 2012, has no complaints, and has received none from podcast editors he’s worked with.
Two Wirecutter staffers and a handful of reviewers at retail sites noted that they found the USB port on their Yeti to be “loose.” One Wirecutter staffer had a USB cord rip out the port when he turned the mic too quickly in its stand. A Blue representative told us that this issue is covered under warranty, with repairs or replacements available.
The smaller but still great-sounding runner-up
If desk or storage space is at a premium, if you often move your mic between spaces, or if you want to save a few dollars and start small, the Shure MVscored well with our panelists in voice recording quality—some even ranked it better overall than the Yeti. The tradeoff is that the MVis not as sturdy, stable, or as tall as the Yeti, making you work to set it up at the proper height for recording. And it lacks for the Yeti’s multiple pickup patterns. But the MVhas just enough recording features—a direct-monitoring headphone jack and impressive automatic gain control, and really helpful travel tools, including micro-USB and MFi-certified Lightning connections—to make it a solid pick for people who value a smaller size and portability over future-friendly capabilities.
All four of the experts who rated our recordings put the MVin second place. Most of the other microphones we tested had a much wider range of scores from experts, but the experts all thought the MV5, used with its “voice”/speaking preset, was nearly the best they heard. In other words, the experts agree on nothing else, except that the MVcan make your voice sound good. Wirecutter staffers gave the MVan overall third place, with a wider range of ratings. Kevin’s voice was “very natural and perfectly balanced,” one expert said. While the voice sounded slightly thinner than other mics, it was “the most clear,” wrote one staffer.
The MVhas just enough features that it avoids the compromises you’d expect in a portable microphone. A physical mute button is easy to reach on the back of the mic, as are a headphone jack and slightly recessed volume knob. The “vocal” Digital Signal Processor (DSP) preset created a noticeably more clear reading, without any editing, than flat/neutral, while neutral would allow editing software more leeway in improving your voice. Shure provides an iOS app that allows for quick recording and sharing, with gain control, clip trimming, a live visual monitor, and more presets for equalizing your recordings. With the included micro USB and micro-USB-to-Lightning cables, you can record to pretty much any device you can find.
The MVweighs 5.ounces with its stand (the mic head is 3.ounces on its own), and very easily disassembles into a ball-shaped head and a C-shaped stand. The Yeti weighs 2.pounds with its stand, or 1.pounds on its own, six times as much as the MVA heavy mic in a metal stand is useful when it sits on a standard work desk, near a keyboard, because it transmits less motion to the recording. But the MVis far easier to stash after use, and it’s much more suitable to toss in a bag.
The MVhead’s light weight also lets it work with most desktop microphone stands without any tipping issues. The mic head has a ¼-inch thread, standard for camera tripods, but it also comes with an adapter to allow it to screw into more typical ⅝-inch microphone mounts.
Besides the trade-off of stability and portability, the MVis not without its flaws. Depending on your height and seating, the lights indicating the MV5’s mode and muting on the top-rear of the mic can be hard to see. We encountered a couple “oh, wait” moments while testing the MVbecause we couldn’t see the small blinking red lights. Five of the nine people who rated our voice samples said they noticed far more plosives (vocal pops) with the MV5, including three of our four audio experts. This could be corrected with an external pop filter, or perhaps by testing farther-out mouth positioning, but it’s present when recording close to the mic.
The Samson Meteor was our prior pick for a decent-enough portable USB microphone, but after we used and heard the MVand saw our panel’s feedback, the Meteor quickly fell. Experts ranked it last in 2016, and staffers found it to be mediocre. The sizable grill causes bounce-back that makes it sound unnatural, and both experts and staffers noticed a lot of mouth noise.
Blue, the maker of our Yeti pick, released a portable-minded Blue Raspberry in the fall of 201It sounds great, ranking second among our experts. It folds up into the size of two stacked candy bars, and it has a headphone jack, gain control, an intelligent level/clipping light, and direct iOS/Lightning recording. The main issue is that it costs significantly more than the Yeti and more than twice the price of the MV5, even though the MVsounded better to both experts and our staffers. And the mute function requires pressing in the mic volume dial, which almost always needs to be done delicately and always moved the mic on our desk.
Shure’s MV5comes from the same MOTIV family of Shure portable products as our MVportable pick. It has a larger diaphragm for capturing sound, more processing modes, and touch-bar buttons for input level and muting the mic or headphones. It’s a bit heavy to be portable, a bit small for the desktop, and didn’t sound better to either set of panelists than the MVIt may be better at capturing instruments or recordings in a larger room, but at nearly twice the price of the MV5, you’d be better off moving to a more semi-pro setup with a separate XLR mic and audio interface.
Another budget audio interface from Behringer but this time even better, the Behringer Xenyx 302USB Mixer is an ultra-compact and ultra-low noise analog mixer that comes with a built-in USB audio interface. You are getting a lot more than what you’re paying for with this audio interface/mixer. It can be fully powered via USB or you can also use the external power adaptor which is included in the package. As many users would recommend, if you need more power of if you’re maximizing all functions and features of the Behringer Xenyx 302USB Mixer all at once, it is best to use the power adaptor than just relying on USB power.
TheTASCAM US-364-In/6-Out or 6-In/4-Out USB Audio Interface is as good as you would expect a high-powered superior quality USB audio interface to be. In fact, it is arguably of the best, if not the best, you will find in its price range. Very sleek and classy looking with a shiny finish, the TASCAM US-36is sturdy and very durable; you can expect to be of your service for many years. It has built in high quality High Definition Discrete Architecture (HDDS) microphone preamplifiers. Up to 24-bit/192kHz recording is supported and it has an on-board digital mixer and digital effects as well. The on-board digital mixer has a selectable multi-track mode or stereo mix mode. On-board effects include compressor and EQ insert and reverb send.
Interchangeable 4-input/6-output or the other way around, the TASCAM US-36has two XLR/TRS inputs with a full 48V phantom power supply. For even more function, it also has RCA analog unbalance outputs, balanced TRS analog outputs, footswitch remote connectivity and digital coaxial/optical inputs and outputs. The software included in the package is the Cubase LEThis best USB audio interface is compatible with both Mac and Windows computers.
The TASCAM US-36is considered as one of the remarkable USB audio interfaces within its price range. It is compact at 9.x 8.x inches and weighs less than pounds. It is perfect for use whether you’re a travelling musician or you simply want to use this in your home recording studio.
Now, it’s important to note that the suggestions below are not rigid. They’re suggestions drawn from the experiences and preferences of the pros in the “A Month of Field Recordists” series as well as input from the community. So, the goal instead is to show that there’s a viable kit for every point upon the arc of a field recordist’s career.
Because field recording is such a broad craft, it’s understandable to differ with the list below. There are dozens of viable options to record sound beyond the studio, many of which were not mentioned in the series at all. So, take what ideas you like from each category to explore the best options for you.
Also, please note that this article is not a list of endorsements or recommendations – after all, there’s no way to I could personally test every model listed here! Instead, the post is an intended as a handy list of options you can explore yourself. It’s always best to rent and test field recording gear before making an investment, if you can.
Note: prices and models are current as of December, 2016.
Denon DJ MC7000
Pros: Dual USB ports (easy DJ switch-overs and B2B), DVS capability, key-matching controls and rugged metal construction makes this controller a high-value purchase.
Choose If: You want a premium Serato experience, especially for more than one DJ at a time.
The jog wheels are large and chunky.
Channel metering was added to the SB(and RB), having been notably absent from the original DDJ-SB.
Traktor Kontrol S(For: Traktor) Budget-friendly access to big Traktor power.
Pros: You can access all basic functions of Traktor in decks, and you even get great mobile support with Traktor DJ for iOS.
Often, modular controllers are used for adding functionality to an existing setup (rather than trying to piece together an all-in-one controller a la carte).
You can shop for modular DJ controllers in our online store.
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This device complies with Part 1of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation.
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First of all thanks for reading my article to the end! I hope you find my reviews listed here useful and that it allows you to make a proper comparison of what is best to fit your needs and budget. Don’t be afraid to try more than one product if your first pick doesn’t do the trick.
Most important, have fun and choose your usb mixer wisely! Good luck!
So, TOP3 of usb mixer
- №1 — JUST MIXER 2 : USB Audio Mixer – Compact USB Powered Stereo Desktop/DJ Mixer w/ 3 In / 2 Out
- №2 — Audio 2000s AMX7321UBT 4-Channel Audio Mixer with USB
- №3 — BEHRINGER XENYX Q802USB