As a working DJ, I’ve spent countless nights behind the decks, and for years, the Pioneer DJM-900NXS2 has been my trusted weapon of choice. It’s been the industry standard for good reason. So, when Pioneer dropped the DJM-A9, the question on everyone’s lips, including mine, was: is it a worthy successor, or just another incremental update? Forget the tech jargon for a moment; this is a DJ’s honest take on the transition from the beloved DJM-900NXS2 to the shiny new DJM-A9. If you’re after spec sheets and technical deep dives, the official Pioneer DJ website is your place to geek out. Here, it’s all about the real-world DJ experience.
Initially, seeing the A9, my first thought echoed many others: with a price tag north of £2,500, has enough really changed to justify the cost? Faced with the choice of servicing my trusty NXS2 or taking the plunge into the A9, I opted for the upgrade. After a solid couple of weeks putting it through its paces, here’s my feedback.
Pioneer DJM 900 Nexus 2 (left) versus Pioneer DJM A9 (right)
Sound Quality: A Clear Step Up from the DJM-900NXS2 Legacy
After a day of back-to-back student DJ sessions on the DJM-900NXS2, switching to the A9 was a revelation. The first thing that struck me, undeniably, was the leap in sound quality. And this was just through my studio monitors, KRK Rokit 5s, which are solid performers. If the difference was this noticeable on smaller speakers, I could only imagine what it would sound like in a club environment on a proper sound system. It was an impressive start, instantly validating the upgrade in at least one crucial area. The DJM-900 series has always been known for good sound, but the A9 takes it to another level, offering a cleaner, more defined audio experience.
Connectivity: USB-C, Bluetooth, and the DJ Booth Reality
Connectivity-wise, Pioneer has made some sensible updates. The inclusion of USB-C alongside the standard USB-B is a welcome nod to modern laptops. No more scrambling for dongles or adapters – a real plus for DJs on the go. Beyond the usual line, phono, digital, and USB inputs, the A9 introduces Bluetooth connectivity. My initial reaction? Slightly skeptical. Sure, Bluetooth is handy for home listening or prepping sets, but in a professional DJ setting? My first thought went straight to dealing with requests. The Bluetooth feature feels like it could potentially make it harder to politely decline impromptu track requests from punters who think they can just beam music from their phones. “Sorry, mate, no Bluetooth here!” has been a useful phrase for years. However, for personal use outside the club, Bluetooth is a nice addition. In a live performance context, though, potential latency issues mean beatmatching via Bluetooth is a definite no-go. It’s a feature with limited practical application in the core DJM-900’s traditional environment.
Microphone Upgrades: Phantom Power and Dedicated FX for Vocalists
The microphone inputs on the DJM-A9 have seen significant improvements. The inclusion of Phantom Power is a game-changer for DJs who use studio-quality condenser microphones. This opens up possibilities for better vocal clarity during sets or for DJs who incorporate live vocalists or MCs into their performances. Furthermore, the dedicated microphone FX section, with Reverb, Echo, Pitch, and Megaphone, is a fantastic addition. These effects can be used independently or combined with the standard Beat FX for some truly creative vocal manipulations. This elevates the microphone capabilities far beyond the DJM-900NXS2, making the A9 a more versatile mixer for DJs who use microphones extensively.
A & B Headphones: Seamless Back-to-Back Sets
The dual headphone jacks, with both ¼-inch and mini-jack connections, are a surprisingly useful feature. During a recent back-to-back set on a DJM-900NXS2, my fellow DJ’s attempt to plug into the mini-jack while I was mixing created a slightly awkward moment. The A9’s A/B headphone system elegantly solves this problem, allowing for smooth transitions and headphone monitoring for multiple DJs without interrupting the flow of the music. It’s a small but thoughtful addition that enhances the collaborative DJ experience, especially in back-to-back scenarios where quick transitions are key.
Color FX: Center Lock and the Intense Crush
The Color FX section on the DJM-A9 benefits from a welcome addition: a center lock for the effect parameter knob. This is a subtle but effective feature, preventing accidental over-tweaking of effects, especially during crucial moments in a mix. While the FX On/Off button on the DJM-900NXS2 offered a workaround, the center lock provides more nuanced control. However, the Crush effect on the A9 feels dramatically different. It’s significantly more intense, almost to the point of being too aggressive. It feels like the bitrate reduction is much more pronounced, even with minimal application. While the improved sound quality might contribute to this perceived intensity, the A9’s Crush effect requires a more cautious approach than its DJM-900NXS2 counterpart. The Sweep Gate effect, a favorite of mine for creating skippy rhythms combined with Echo, is gone, replaced by something I’m still trying to identify – possibly a notch filter. While I appreciate innovation, the loss of the Sweep Gate is a personal disappointment, and the new effect hasn’t yet won me over. In the Color FX department, I still lean towards the DJM-900NXS2’s more versatile and nuanced palette.
Faders & EQs: Smoothness and Spacing for Enhanced Control
The faders and EQs on the DJM-A9 feel fantastic – incredibly smooth and responsive. Hopefully, this isn’t just the honeymoon period of a new mixer, and they’ll maintain this feel over time. The EQ section feels as precise as ever, and the slightly increased spacing in the layout is a subtle but noticeable improvement. It makes the EQ section feel less cramped and more natural to use, particularly during intricate mixing. The Magvel Fader makes a return, which will undoubtedly please scratch DJs. While crossfader mixing isn’t my primary style, the inclusion of the Magvel Fader reinforces the A9’s versatility. The addition of EQ settings for the booth monitors seems less immediately useful to me personally. I’ve never felt the need to EQ my booth monitors, but I’m sure some DJs will find this feature beneficial for fine-tuning their monitor sound in different environments.
Beat FX: Farewell Slip Roll, Hello Triplet Filter
My initial reaction to the Beat FX section was… “Where’s the Slip Roll?!” This was a go-to effect for me, especially when working with vocals, creating rhythmic stutter effects. Its absence was a real blow and initially colored my perception of the new effects. The Mobius effect also initially seemed perplexing – why would I want my mix to sound like a poorly looped sample? However, after spending time jamming and experimenting, the brilliance of the A9’s Beat FX section started to emerge. The larger screen provides significantly more visual feedback, allowing for precise parameter adjustments. The X-Pad is also more intuitive and user-friendly. The Reverb parameters, for example, are visually clear and self-explanatory, making it easy to dial in the desired effect, even for those less familiar with reverb. The dedicated channel select buttons for Send and Return are a major workflow enhancement. Being able to route external effects units like the RMX-1000 to different channels independently opens up a vast landscape of creative possibilities, bridging the Beat FX and external FX worlds seamlessly.
While most of the core effects from the DJM-900NXS2 carry over, many have been refined and enhanced in their performance. The Echo effect now incorporates a tape delay emulation when adjusting the timing, which works beautifully with the X-Pad. The Mobius effect, while initially confusing, reveals its potential when combined with Color FX like Reverb or Dub Echo, creating unique textural layers. The Triplet Roll is a welcome addition for those who love triplet rhythms. But the standout new effect, for me, is the Triplet Filter. It’s simply phenomenal. I’m completely hooked. Its versatility is incredible – from building tension in breakdowns to adding rhythmic modulation to acapellas or subtle textures to loops. The ability to manipulate the parameters and create LFO-style sweeps is addictive. My personal affinity for triplet rhythms undoubtedly plays a part in my love for this effect, but the Triplet Filter is a genuine game-changer.
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