As a working DJ, I’ve always relied on Pioneer mixers for their club-standard quality and intuitive layout. For years, the DJM-900NXS2 has been my go-to mixer, a solid piece of kit that delivered night after night. So, when Pioneer announced the DJM-A9, the question on everyone’s lips, including mine, was: is it really worth the upgrade, especially considering the price tag? Forget the tech specs for a moment; I’m here to give you a real-world DJ perspective after making the switch from the trusty DJM-900NXS2 to the new DJM-A9. If you want a deep dive into the technical details, the official Pioneer DJ website is your best bet.
Initially, beyond the obvious change in size, the DJM-A9 didn’t scream ‘must-have upgrade’. The big question was whether the hefty price jump from servicing my NXS2 to buying the A9 was justifiable. Ultimately, the decision came down to future-proofing my setup and taking the plunge into the latest Pioneer technology. After a few weeks of gigs and studio sessions with the DJM-A9, here are my honest thoughts.
Pioneer DJM 900 Nexus 2 (left) vs Pioneer DJM A9 (right)
Enhanced Sound Quality: A Clear Step Up from the DJM-900NXS2
Having spent countless hours mixing on the DJM-900NXS2, the difference in sound quality on the DJM-A9 was immediately noticeable. Even in my studio with KRK Rokit 5 monitors, the audio clarity and depth were significantly improved. If the upgrade was this apparent on smaller speakers, I could only imagine how much better it would sound in a club environment on a proper sound system. This alone was a promising start and suggested a genuine advancement over the already excellent DJM-900NXS2.
Connectivity: USB-C and Bluetooth – Practical or Gimmick?
Pioneer has thankfully included a USB-C connection alongside the standard USB-B on the DJM-A9. This is a welcome update, aligning with modern laptops and saving DJs from the dreaded dongle life. No more scrambling for adapters or forgetting them at home! Beyond the standard line, phono, digital, and USB inputs, the A9 also boasts Bluetooth connectivity. My initial reaction was skeptical. While it’s convenient for home listening, my DJ brain immediately thought of track requests and the potential for punters wanting to connect their phones. It could make saying “no” to impromptu requests a little trickier! For club use, Bluetooth seems impractical due to potential latency issues if you were to try and beatmatch with it. However, for home practice or ব্যাকstage music playback, it’s a nice-to-have feature.
Microphone Inputs: Studio-Grade and FX Ready
The microphone inputs on the DJM-A9 have received a serious upgrade. The inclusion of Phantom Power is a game-changer for DJs who use studio-quality condenser microphones for MCs or live vocalists. Furthermore, dedicated microphone FX (Reverb, Echo, Pitch, and Megaphone) are a fantastic addition. These can be used independently or combined with the standard Beat FX, opening up creative possibilities for vocal manipulation and performance. This is a significant step up from the DJM-900NXS2 and adds real value for DJs who incorporate microphones into their sets.
Dual Headphones: A Practical Feature for Back-to-Back Sets
The A and B headphone connections are a brilliantly practical addition. Anyone who’s played a back-to-back set on a DJM-900NXS2 will appreciate this. No more awkward headphone swapping or one DJ struggling to cue while the other is mixing. This feature alone streamlines transitions during collaborative sets and enhances the overall DJ experience in back-to-back scenarios. It’s a small but incredibly useful improvement for DJs who frequently play alongside others.
Color FX: Center Lock and a Crushed Crush?
The addition of a center lock on the Color FX parameter knob is a smart and welcome feature. While you could always disable the effect parameter on the DJM-900NXS2, this new lock provides a tactile way to prevent accidental parameter adjustments, especially during high-energy moments in a set. However, the Crush effect seems to have been significantly altered. It feels much more intense on the DJM-A9, almost too aggressive, even with minimal application. I’m now hesitant to use it in the same way I did on the DJM-900NXS2, particularly in a club setting, as it might be overpowering. Also, the Gate effect on the Sweep Color FX has been replaced. I used to enjoy combining the Gate with the Echo Beat FX for a unique rhythmic effect. The replacement seems to be a notch filter, which is less intuitive for my workflow. While exploring new sounds is part of the fun, I do miss the Gate effect and find the new Crush a bit too much. In this aspect, the DJM-900NXS2’s Color FX section still holds a slight edge for my personal preferences.
Faders and EQs: Smooth and Spacious
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 knobs feel as precise as ever, and the increased spacing in the layout is a noticeable improvement. It makes mixing more comfortable and natural, especially during extended sets. The Magvel Fader also makes a return, which scratch DJs will undoubtedly appreciate. While I don’t personally use the crossfader much in my mixing style, its inclusion is a plus for DJs who incorporate scratching into their performances. Booth EQ settings are a new addition, although I haven’t found a practical need for them yet. It seems a bit redundant, but perhaps some DJs in specific monitoring situations might find it useful.
Beat FX: Farewell Slip Roll, Hello Triplet Filter!
My initial reaction to the Beat FX section was disappointment – the Slip Roll effect is gone! I loved using Slip Roll, especially with vocals, and its removal was a major letdown. However, venturing beyond my initial frustration, I started to explore the new and updated Beat FX. The larger screen is a significant improvement, providing much clearer visual feedback and more precise control over parameters. The X-Pad is also more user-friendly and intuitive. The Reverb parameters, for example, are now so clearly displayed that even a beginner could understand how to use them effectively. The dedicated channel select buttons for Send/Return are excellent, allowing for independent FX routing from external units like the RMX-1000 to different channels alongside the internal Beat FX.
Most of the classic Beat FX from the DJM-900NXS2 are present, with some performance tweaks. The Echo now has a tape delay style effect when adjusting timing, which works well with the enhanced X-Pad. New FX include Mobius, which, while initially sounding a bit chaotic, can be interesting when combined with Color FX like Reverb or Dub Echo. Triplet Roll is a cool addition for creating triplet rhythms. But the standout new effect, for me, is the Triplet Filter! This effect is incredible and has quickly become a favorite. It’s versatile and can be used in so many creative ways – building tension, manipulating vocals, or adding subtle texture to loops. The parameter controls for creating LFO-style modulation are also fantastic. While I still miss Slip Roll, the Triplet Filter and the overall enhanced Beat FX section on the DJM-A9 offer a wealth of creative possibilities and represent a significant upgrade from the DJM-900NXS2.
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