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Make it Rane

Now I owe Rane a bit of an apology. A while back I bought a beautiful little mixer called the MP2014, a feature packed little brother of the MP2015. I actually wanted the 2015 but was not easy to find one available. Me being me and super impatient an MP2014 became available so I didn’t hesitate.
Rane MP2014

This was a period of time where I was averaging around a new mixer every week, I kid you not. There was a valid reason for this though which I’ll go in to more detail another day but this sets the scene for a hasty decision.

Now this was a mixer I had high hopes for as the feature set ticked most of my boxes, so I rushed home to unwrap and hook up my trusty 1200s to for a test drive. Straight away I didn’t feel at home on it and my mixing way sub-standard (wasn’t the mixer’s fault) and the harder I tried the more frustrated I was getting. Of course I laid the blame firmly with the new mixer and convinced myself the cueing wasn’t right, the summing wasn’t great etc etc..

In short I gave this little mixer no chance at all and the next day it was packed up and sent to my amigo in Australia of all places Darren Tolley (check out his mixes and mixers by the way).

I gave this little mixer no chance at all and the next day it was packed up and sent to my amigo in Australia


I know a fair few people who own desktop rotaries and they swear by them. I believe the first batches of the MP2014 and MP2015 were American made which seems to excite the community somewhat but the second batches were Chinese made. I’m not personally bothered by this as most things are produced and/or made in China for decades so they must be getting the hang of it by now eh!

With the on-the-whole good press and unique features such as the variable crossover points on the isolator and Traktor compatibility and more it would be amazing to see another run at least or can we dare to dream of an updated range?

Let us know your experiences in the comments.

One example of this is Ebony Reprinted, a series of monoprints that present “the healing possibilities of abstraction.” To make the works, Dana used images that circulated in printed adverts and distorted them using paint to “remove traces of exploitative, white-dominated, capitalist, visual language and allow the individuals in these images to regain their agency.” She does this by smearing, pressing and adding texture to paint and, as the individuals and their faces becomes more abstract, the notion is that they also become “exponentially more present.”

As well as Beirut Re-Store’s marketplace, towards the end of October the platform will launch a “special collection of bespoke items” made in collaboration with non-profit organisation Creatives For Lebanon. This collection is already confirmed to feature contributions from Dior, Jean Paul Gaultier and Supriya Lee.

With a background in both graphic design and art, Dana Robinson’s practice sits at a fascinating intersection. She understands the power of combining imagery and text and the cultural and social connotations that come along with doing so, but she also embodies a freedom of expression often lacking in graphic design, meaning Dana’s portfolio errs towards abstraction and conceptual investigations. The onus of these investigations is on youth, Black female identity, ownership and nostalgia, topics she explores by combining, reproducing and deconstructing vintage materials, found objects and paint.

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