DJs, musicians, and performing artists looking for a professional performance mixer with uncompromising build quality, intuitive tactile controls, and beautifully warm analog circuitry will be delighted with the PLAYdifferently MODEL 1.4, a premium ultracompact 4-channel analog DJ mixer with an advanced feature set not found on comparable devices. Building upon the success of the original MODEL 1, the MODEL 1.4 was engineered by Andy Rigby-Jones of famed Allen&Heath and codesigned by Richie Hawtin. The mixer's ultracompact design is ideal for home use or as the ultimate tourable analog mixer, allowing you to take your analog core wherever you may roam.

The mixer offers four input channels plus two stereo returns in a small format frame. Notable features include an input preamplifier drive control, hybrid filter/swept bell EQ, dual-cue system, dual mixer linking system, and a fully balanced Tascam DB25 connector system. The purely analog mixer features technology typically found in the finest studio consoles such as a fully balanced mix bus, zero crossing detection for seamless filtering, and master-EQ routing along high voltage differential power rails. The MODEL 1.4 can be used alone or connected via the mixer link to a MODEL 1 for an unrivaled 10-channel live mix experience.

Two Stereo Sends and Returns    Two High-Performance Phono Preamps    Custom TKD 60mm Studio-Grade Faders    Precision Sculpting EQ    Contouring Low- and High-Pass Filters    Analog Overdrive    Two Independent Cue Systems    3-Band Master EQ + 2-Band Booth EQ    D-Sub Inputs & Outputs + RCA, XLR, 1/4"    Full Balanced Main Mix Bus

The two Aux controls send the channel signal to the Aux mix outputs for use with external effects processors or, in some applications, local monitors. Aux 1 offers either pre or post fade while Aux 2 is internally set to post fader.

Two basic stereo channels for use as return inputs from external effects processors or other sources. Each return features trim to adjust the return signal, input drive circuit, and cue routing to both Cue A and Cue B. Each return also features metering for visual feedback of the signal level, a rotary level fader to adjust mix amount and combined return 1-2 low-cut EQ and master-filter routing.

Two high-performance turntable inputs have been optimized for the club environment to minimize the tonal imbalance between vinyl and digital audio and eliminate sub-frequency feedback. Each phono input has its own individual turntable earth binding for greater flexibility.

Custom TKD 60mm faders. These twin-rails faders have been carefully chosen to ensure long life and smooth operation and feature a heavy feel for greater precision.

Sculpt is a semi-parametric swept bell filter and consists of two controls: Freq, which allows you to set the center frequency and Cut/Boost, so you can adjust the gain or attenuate this frequency. The level of Cut/Boost is asymmetric; maximum boost is limited to +8 dB, while the cut is extended to -20 dB. Sculpt has a wide Q and a frequency range that covers almost seven octaves.

As the name implies these two controls allow you to contour the frequency range of the audio signal. They consist of low Q, high-pass and low-pass filters designed not to add color to the sound as they are swept across their frequency range.

A unique feature on every input, the Drive control. This control allows the user to adjust the level at which the channel preamplifier clips the input signal, thus creating harmonic distortion as a creative effect.

Two independent cue systems, A and B. Cue A routes to the right-hand-side headphone monitor and the Cue B routes to the left-hand-side headphone monitor. The dual-cue system makes it much easier for two DJs to perform on the mixer together in back-to-back setups, as each can select a separate channel to monitor without interfering with the other. This feature also assists DJs in handing off to each other in a smooth and natural way.

A system that allows multiple mixers to be linked together, either for use with two or more performers, or as a way to expand the number of channels. When Linked together the mixers share a common balanced mix feeding the PA and booth monitors. In addition, the two cue systems are joined allowing interactive cueing between multiple performers.

Fully balanced main mix bus (usually only found in very high end analogue studio consoles) resulting in >110 dB of dynamic range, improved hum rejection, lower noise and crosstalk.

The Master Filter consists of a high-pass filter, a low-pass filter, and a resonance control, to adjust the sharpness of the high-pass filter. The Master Filter can be used as a swept frequency performance effect, or as preset frequency mix tool to instantly cut the low or high frequencies of any channel routed to the filter. Signals can be routed to the Master Filter by the Filter select switch found on each channel.

Three-band Master EQ with asymmetric cut and boost, -20/+6 dB, which can be used as a performance effect, as well as a frequency correction tool.

A 2-band equalizer allowing the user to adjust the frequency response of the booth monitors to suit their own preference.

Smooth intuitive controls matched with warm, pure analog circuitry.

All internal routing utilizes a zero-crossing detection system that helps minimize audio switching artifacts for channel and filter selection, master filter on/off, and master EQ on/off. This system allows each of these functions to be used quickly and intuitively as performance effects.

Beautifully smooth components each controlling one specific function for intuitive on-the-fly creative performances.

Powered by an external 45W 24V universal voltage PSU. Internally, the 24 volts from the external supply, is converted to just under +/-20 V for the analog power rails using high frequency switching technology, giving MODEL 1 some of the highest signal headroom of any professional mixer irrespective of its application.

Built in the UK with our partners DigiCo and Allen & Heath using alloy/steel chassis for maximum strength and minimum weight, optimized for touring, club, and performance situations.

Two fully balanced TASCAM DB25 inputs receiving all 6 stereo channels for rapid connections to external soundcards and added flexibility in club installations.

Fully balanced TASCAM DB25 output for sending Master, Aux 1 and 2 Sends, and Cue B channels down a single connector for rapid connections to external soundcards and added flexibility in club installs.

Mounted on the front panel at the top of the Master section, the Record Out 3.5mm TRS jack feeds the post Master EQ signal as a pre-fader record output. Nominal level is -2 dB.

Related Questions and Answers

Q: 1. Does this console has clock?

A: If you are referring to a clock that tells time, then it does not.

Q: 2. Does this have the same incompatibility issue with AMD processors as the L-12?

A: As stated in the specifications section of the L-12 page on our website, operation is not guaranteed with CPUs from Atom, Celeron or Pentium series or CPUs made by AMD.

Q: 3. When connected via USB for multitrack recording, does the USB also power the mixer, or do you have to use batteries when recording with USB?

A: This mixer/recorder can perform all functions while receiving power through USB.

Q: 4. Are the XLR Outputs -10 or +4?

A: Maximum output level: +14.5 dBu Output impedance: 100 Ω

Q: 5. Greetings, I am a location sound mixer and I am building my cart, which will be separate from my audio bag. I primarily record narrative features, but will be doing some live event work soon (stand-up comedy & music). My question is: would the L-12 work well as the heartbeat of my cart? As the mixer/recorder and with the headphone outs, can this be used as adequate IFB for video village? And, finally does the L-12 generate timecode?

A: This has five headphone outputs that can each have it's own individual mix, so throretically it can be used for IFB. It will not do timecode. Other than that it works like any other digital mixer.

Q: 6. How does the Latency Adjustment work? Looking at the manual, there is only an ON or OFF function. Is there a way to manually delay the output? For example in the Zoom F8n, you can delay the output by a number of frames. I'd like to delay the output of this mixer because it's going to a video switcher and I know if someday I use HDMI inputs, the video will be delayed and then the sound will be slightly off. I'd hate to take the output of the mix and feed it back into a camera to feed it back to the video switcher if I don't have to

A: Yes it is.

Q: 7. Can you pad the master output signal down to mic level?

A: Yes, you can pad the master output signal from the Zoom LiveTrak L-12 Digital Mixer & Multitrack Recorder by using an attenuator like the Hosa Technology ATT-448 In-Line Switchable Input Attenuator XLR Barrel (B&H # HOATT448) and setting the attenuation level for -30 or -40 dB to reduce the line level signal to mic level. The ATT-448 can be used on each of the XLR outputs with XLR cables.

Q: 8. Using this as an audio interface with StreamYard and Skype... guests hear an echo on theor end, but don't hear one from me. I don't hear the echo live, but do in recording. Any ideas? Using a MacBook Pro. Mic plugged into Input 1. Computer plugged into Input 7 (USB 1-2).

A: You will not be able to easily configure a mix minus to send via USB.

Q: 9. Does this have a built-in per-line limiter or compressor?

A: That is a mistake on Zoom's part. 4 Mic Inputs, each with dedicated compression, would have been preferable the 6 without, at this price point. Any time a human voice (speaking or singing) gets in front of a microphone, it's a good idea to have a dynamics "babysitter" in the signal path.

Q: 10. Does this have a built in metronome? can you quantize the audio as well to tighten up the tracks?

A: Yes to the metronome. The Livetrak records audio, not MIDI data, so you cannot quantize an audio waveform (that I know of) The unit is simply amazing and I use it to record podcasts on location as well as recording bands. The trick is to make sure your input levels are steady at 3/4 of the meter (VUFS) and do the final mixing in your DAW.