All of my favorite mixers have one person in common. Denon could really drop a beautiful club mixer with Andy behind the wheel.
It will end up being a beautifully sounding mixer with a strong summing stage. The niche market will finally take Denon mixers seriously again. The club/rave DJ market won’t be able to have anything negative to say.
Just a thought.
Or better still, release a 4 channel sound card with proper phono bypass so we can use DVS alongside the excellent Radius mixers, with modern OS and computers.
5 channel* 10 in/10 out interface, so you can also utilize the fx send/return.
Yeah that too:) I use the input on my channel 3 on the SL3 for recording, then the output with an LC-6000 to control the 3rd deck, its absolutely perfect for what I need but stuck on Catalina annoys the life out of me. Im not even bothered about upgrading Serato, id just like to use my newer Mac to DJ with at home.
Better yet, get into a relationship with A&H for two successors to the DB2 & DB4 that have built in ethernet hubs and integration with Engine Prime. I already have the ideas for the model numbers, the improvements over the prior models, which architecture inside to use, etc. It’s a no-brainer. When I talked to A&H about new models, they were uninterested, but InMusic has the clout to get things moving with a B2B relationship on the matter. Two Xone DB mixers with “Engine Prime Integration” stamped on them, coexisting with the “Allen & Heath” branding. There just is no point marketing a new Denon mixer that lacks integration, and you can get superior sound from digital mixers, anyway. I have 100% certainty such DJ mixers would be unparalleled in both single channel playback and summing. It would also start a useful trend in Engine Prime integration across brandings. However, if InMusic is not interested in that, I also have an idea for a successor to the MP2015.
Both the DB2/4 and MP2015 were absolutely badass and enjoyed a high reputation among DJs. Similar to the old DN-X1600 and X1700, which were ahead of their time.
Compared to that, the X1800/1850 seems quite uninspiring. Pretty boring (ihmo ugly) design, solid but not superb sound quality, no USPs, no flagship ambitions compared to a NXS2/A9, X96 or Model1. Of course, in return, the price is really good. But I wouldn’t mind a more expensive, bigger X1900 brother with more high-end Xone/Rane attributes.
I stay with my AiO workstations, but I’m a geek and I love cool DJ mixers, especially for hybrid digital + phono/TT setups. I would have a hard time picking between a V10, A9, DB4, X96 or even MP2015 (just for the sake of rotary fun, haha)
InMusic could be just opposed to a partnership like this simply due to allowing integration, an advantage for InMusic mixers’ own recent mixers, to give sales to another company. I guess they could always get some sort of profits split with A&H. I really think opening up Engine to other companies and brands is the way to go, but an MP2023, though, with certain features that put it ahead of the MP2015, while also taking away certain other stuff, would allow the MP2015 to remain in its current position as live-production-style mixer with its master iso also for those old-school rotary house mix DJs, while giving people a reason to potentially want a new version. You might even want both 
I try not to knock the X18xx mixers too much, because they do test nicely in TrueRTA & RMAA, the integration works so well, and they can work even better in the future (more integration, better sound, more effects) with firmware development, but I do prefer rotary. Even just flipping those sweep and fader functions (with adjustable deadzone size for both) to get a DB4-style rotary mode would go a long way. Yet, the low-level detail seems lacking, midrange is a little void of expression & presence, and the summing indeed doesn’t seem great for whatever weird reason on them. That last one, though, mostly seems to be dealt with using more tone controls in-the-mix, and the first issue just necessitates louder volume. On the plus side, the X18xx mixers aren’t particularly strident, synthetic-sounding, or artificially-polite at high volumes, though they are kind of just matter-of-fact, struggle with delicacy, and come off as dry with their poor low-level resolution. They certainly don’t lack physicality to the sound, but as I’ve said before, I would like the option to run them at a lower volume and still differentiate detail and separation as I can do on even the DJM-800, 4D, and d.4.
The weakest link in the Prime flagship separates sound, though, is not the mixer, but the players’ firmware, which needs some substantial audio processing changes. I’d rather listen to a Gemini or Hanpin into an X18xx recreationally than the SC Prime players into the DB4, MP2015, or X1700, to say nothing of an old CDJ into an X1700… but we are talking about DJing, here, and not just powdering wigs and eating grapes while listening to chamber music.
Or just contract the man and mind behind the best of A&H, Mister Rigby Jones, like other manufacturers have……
His specialty that’s outside of the proprietary Xone DB line is analog mixers. So, contracting him is going to result in an analog mixer with no digital integration. Digital can produce higher sound quality per dollar, and a new Denon DJ mixer without Engine Prime integration seems sort of pointless to me when you can buy a Mastersounds, Formula Sound, etc. The only people that would get the Denon DJ analog mixer would be people that just want all the same brand on their gear. If we’re talking about top tier sound quality, InMusic owns the MP2015 and X1700 IP, so it’s not as if they don’t know how to do mixers with extreme fidelity.
He was behind the DB4 and even included in its marketing material.
He advocated for and managed the adaptation of the pre-existing Live family architecture from their big digital sound board line for a DJ application. Even if he had some tangential role in the Live stuff, which makes no sense for A&H or him to never have mentioned how he has some big unknown background in coding original fixed-point signal processing methods from the ground up, InMusic doesn’t get access to that proprietary architecture just having a contract with Rigby-Jones.
They’re not going to get access to any previously patented or owned ip either, and neither have other companies that have worked with him. From the parts lists I can see, none of the union audio stuff has any Allen and heath specific parts….
The point here is that InMusic needs someone in the room to give them credibility and to direct their engineering/design in the right direction.
Speak for yourself.