Rane Corporation, founded and incorporated in 1981 in Washington State, is a privately held company. The owners previously worked together in middle management positions at Phase Linear Corporation, a high-end consumer electronics company. With this background, they pooled over 40 years of combined audio experience to create Rane Corporation. Owners became separate department heads based upon their expertise. This organization created an unusually strong structure, since all department heads had a unique owner’s perspective in making it succeed.
Rane started out with four products aimed at small bands, designed to make their live performances better. With these products, Rane quickly established a new price-point for performance, quality and reliability. Rane products were priced below the top high-end equipment yet outperformed and outlasted them, but were still priced significantly above the low-end products—thus creating a new middle ground. A noteworthy testament to Rane’s design significance and reliability reputation, is that in their first two years of production, Rane designed and shipped eight new products—four of which are still in production today.
Rane first entered the DJ mixer market upon request from Richard Long of Richard Long & Associates (RLA). Richard Long was a famous sound designer for the biggest names in disco. He designed systems for Studio 54, Annabels (London), Regines (a chain of 19 clubs scattered around the world from Paris and New York to Cairo) and many others that were the vanguard of the disco era.
Richard approached Rane and asked them to redesign his famous X3000 crossover using their proprietary technology. This became the X3000A, built exclusively for Richard Long. They also co-designed a DJ equalizer called the Q5000. Based on his successful relationship with Rane, he persuaded them to research the DJ mixer market. They did and produced their first DJ mixer, the MP24 which rapidly became the industry standard.
After creating many more innovative DJ products following the MP24, Rane was attending an AES (Audio Engineering Society) convention in New York City in 1998. Four extremely talented turntablists introduced them to their art form and invited a couple of Rane guys to join them in their back yard for some tutoring. It was an eye opening experience for a couple of Joes from the sticks of Mukilteo. They felt privileged to be invited, not only to join in the turntablism fun, but also to be the company they selected to build their dream mixer. They knew Rane’s reputation in the club market and they understood Rane’s design philosophy.
The Rane product designers joined a handful of the city’s top scratch performers where they literally spread their ideas on the floor of Wiz’s apartment in Spanish Harlem and went to work. Thus began the anatomy of the TTM 54 Performance mixer. For three days, they enjoyed the company of Rolly Roll, Development, DJ Big Wiz, Sugarcuts, Marz1 and Peter Parker. They watched performances by DJ Quest, The Crash Dummies, The X-Men and many more. During their stay, they defined every detail of the mixer: features, control locations, knob size and feel, as well as fader feel and much more. Collectively, they created Rane’s first hip-hop battle mixer, which became one of the most successful products in Rane’s history.
The rapid evolution of DJ mixing is absolutely mind-boggling. When Rane began, they never imagined how huge the world of music mixing would become. Disco clubs of the 70s and 80s featured basic blending. Now the genres, techniques and methods have exploded into endless possibilities. The mixer is no longer just a tool, but instead, has become a musical instrument, a vehicle for self-expression. Applications for DJ mixers have gone far beyond what was originally envisioned. There may soon be as many styles of DJ mixers as there are types of guitars. The evolution isn’t over! New mixing styles continue to develop, leading to new demands on both performance and features. The lessons Rane learned in the beginning have served them well during this rapid evolution.
Featured the Canada-A-Go-Go and Carnival-A-Go-Go sound systems designed by audio engineer Alex Rosner (a Holocaust survivor by virtue of being on Schindler’s List).
Considered the pioneer of modern clubbing he soon met Alex Rosner and together they applied the Broadway concept of separate tweeter and bass reinforcement to the Loft’s sound system by adding separate tweeter arrays and subwoofers, thus setting a new standard for clubs everywhere.
Nicknamed “Rosie” for its inventor and red color. A one-off stereo design for in-house use by their resident DJ, Francis Grasso, recognized as the Godfather of the modern performing DJ.
Designed by Rudy Bozak with input from Alex Rosner & Richard Long. [Note: Allen-Bradley rotary controls were used since they were sealed and could pass Rosner’s spilled Coca Cola reliability test.]
Mixed by Tom Moulton; intended for private use it was never sold commercially. “Ten Percent” by Double Exposure is generally considered the first commercial 12-inch single.
Featuring Larry Levan as DJ (who some consider the greatest DJ ever) using Richard Long’s first big sound system through his new company: Richard Long & Associates (RLA).
First U.S. mixer to incorporate a horizontal crossfader labeled “Transition Control,” and first affordable DJ mixer (became known as the poor man’s Bozak).
Studio 54 used RLA’s famous sound system based on the Paradise Garage design, which quickly became known as the best in New York City.
Also known as the SL-1200MK2, the iconic turntablist turntable is a beefed up version of the original SL-1200 home hi-fi model released in 1972.
Outside the first factory in Mountlake Terrace, Washington.
Processor-controlled sequencers and drum machines create perfect 4/4 timing for beatmixing. Soft Cell’s “Tainted Love” is the year‘s best-selling single.
Grandmaster Flash mixed samples from various groups using three decks. Uses: Chic “Good Times,”
Queen “Another One Bites the Dust,”
Sugar Hill Gang “8th Wonder,”
Furious Five “Birthday Party,”
Spoonie Gee “Monster Jam.”
Richard Long redesigns his disco systems, Famous Disco Clubs Worldwide, to use Rane AC 22 and AC 23 crossovers to replace his original X2000, X4000, X5000 and X6000 crossovers. [RLA Crossovers]
A 20-year life ended in 2006.
MPE 14, MPE 28 and MPE47.
Versions later used in Rane’s TTM 54, TTM 56, TTM 57SL, XP 2016, MP 44 & Empath DJ Mixers.
The PAQRAT allows a 16-bit digital multitrack to record 24-bit audio. The RC 24T interfaces with the Tascam DA-88. The RC24A interfaces with the Alesis ADAT or Fostex RD-8. A stereo 24-bit signal is divided into four 16-bit signals for recording on tracks 1-4 or 5-8. Playback does the opposite, with four 16-bit track inputs and produces two 24-bit outputs.
The MP22 was developed as a less costly version of the MP24, without as many inputs.
Project completed by Rane employees Bob Moses and Jeff Davies.
A New Zealand graduate student from the University of Auckland, James Edward Russell, writes a postgraduate paper on concepts of controlling digital audio playback, one of which involved turntables. Steve West (née Hoek) suggests pressing a record with a tone in quadrature, and having the software track the motion of the record by analyzing the electrical signal generated by the unmodified turntable. (Steve West went on to co-found Serato Audio Research).
The Mojo line was intended to deliver Rane quality and minimal features, at a price that could compete with mixers built on the other side of the world.
First use of “Hamster” reversal switch on crossfader and 3-position switch selectable crossfader curve control.
Four turntablists helped Rane develop the first battle mixers. Wiz and Marz from the Steelworkers are pictured. Peter Parker and Sugarcuts also helped define these mixers.
Updates the discontinued UREI 1620 Club Mixer and offers a separate Expander with channel tone controls and a crossfader.
First used on the TTM 54 Performance Mixer (Granted 2006). Now used on the full-cut tone controls of all Rane DJ mixers.
Rane develops and receives patent (2004) on the world's first computer-controlled non-contact magnetic fader.
Still in production today as the improved TTM56S.
Now on permanent display in the Smithsonian.
Plug-in for Digidesign‘s Pro Tools to Scratch any digital sample or sound file using regular turntables or a mouse as the controller.
Rane partners with Serato Audio Research, a New Zealand company, to produce Scratch Live. First digital music file mixing system to work exactly like real vinyl, with none of the limitations of previous attempts. The USB interface box was named later as the model SL 1.
Rane MP 4 DJ Mixer for both analog and digital music sources. First USB DJ mixer designed for use with PCs for MP3 playback. Includes Serato Scratch Live software.
Same 3-bus Empath, but with rotary volume controls instead of faders.
Rane TTM 57SL Performance Mixer is the first mixer to incorporate built-in functions for Serato Scratch Live, as well as downloadable effects.
Adds the ability to playback and mix video files using a laptop and a TTM 57SL mixer, bringing live video mixing to the turntablist, allowing manipulation of video files from vinyl or CD players.
Adds a third input for a third turntable, and a third output to feed the sampler output or the third deck output into a mixer input. 24-bit digital converters improve the sound over the SL 1's 16-bit converters..
World's first DJ mixer with two USB ports, and the first mixer allowing two DJs with their own laptops to hand off sets without any disconnect. More inputs than any other Rane DJ mixer.
Brings the spirit of the iconic MP24 into the digital world.
4 phono/line inputs, 4 outputs, a 5th aux input for recording a mixer's output, and a 5th aux output that can be assigned to the SP-6 sampler in Serato software. Dual USB ports for two computers and 24-bit digital converters.
Replaces the SL 1 with easier hookup, USB 2.0, and better sounding 24-bit converters.
Rane Sixty-Two Mixer for Serato replaced the TTM 57SL with dedicated lit buttons for cues, samples, loops, and dedicated onboard effects. The two USB ports allow two DJs to share the mixer between two laptops, even if they run different software.
The Sixty-Two Z is functionally identical to the Sixty-Two, but with a redesigned faceplate, yellow and purple accents, and included yellow and purple cables.
The Sixty-Four is Rane's most powerful mixer for Serato DJ, with four buses, internal effects and software controls. The Sixty-Four is the first Rane mixer designed to work with Serato DJ and other third-party DJ and DAW software.
Products that previously included Serato Scratch Live now include Serato DJ. The SL2, SL3, SL4, Sixty-One, Sixty-Two, Sixty-Eight can work with either Serato software, and include drivers to work with other third-party DJ and DAW software. The SL1 and TTM57SL were USB 1 devices, Scratch Live only, and can't be updated for Serato DJ. The Sixty-Four and TTM57mkII are not backwards-compatible with Scratch Live. Scratch Live continues to work and be supported with interfaces and mixers for which it was designed.
The MP2015 is Rane's best-sounding mixer to date, with dual USB ports, 4-bus architecture with unique submix bus, isolator EQ on the outputs and powerful channel filters.
The DJ community mourned the loss of the TTM57SL, so Rane responds with a better-sounding mixer with dual USB ports, compatibility with Serato DJ and all the popular DJ and DAW programs, and easier controls.