In development · Rev 2027.4 draft docs
A four-channel analogue club mixer.
Four identical channels, a four-band EQ on every strip with full kill on the shelves, a filter on every strip and an effects loop that stays out of the signal path until you switch it in. No crossfader, no DJ software, no screen. The brief comes from DVS1’s own published words, quoted and linked below.
Play the panelTechnical manualSchematicsGlossaryPress and sources
Design targets for the finished mixer.
Each strip switches between phono and line. Four RIAA phono stages, so any deck can go on any channel. Trim ±15 dB.
HI and LO shelves at 3 kHz and 180 Hz go from full kill to +6 dB; HI MID (1.1 kHz) and LO MID (350 Hz) bells go from −27 to +10 dB. Exactly flat at 12:00, on large, widely spaced knobs. Design target.
One knob: low-pass counter-clockwise, high-pass clockwise, 12 dB per octave with low resonance. A dead zone at 12 o’clock switches the filter out of the circuit with a relay: true bypass.
Switchable send and return, hard-bypassed when off. No effect sits in the signal path unless you switch it in.
Shape the whole system. Balanced master and booth outputs, classic VU meters, and a dark mode that dims them.
Cue / mix blend and split cue. Both headphone outputs (6.35 mm and 3.5 mm) can run at once, so two people can cue at the same time.
Optional per-strip texture: clean state-variable, ladder, comb or bitcrush, with resonance, drive and an LFO or envelope on the cutoff. Off means nothing in the path.
A design target: a 32-bit float USB-C interface for the four channels plus master. A tap off the analogue path, not part of it. No DJ software, no screen.
No crossfader, no DJ software, no screens, no menus.
No converters in the signal path: the USB-C converters sit on a tap. External linear supply.
AI-generated illustrations of the intended design. They are not photographs of a built unit.
Power it on and four generated test signals (kick, hats, bass and chords, 120 to 140 BPM) run through the M4. Ride the levels, kill or boost bands on the four-band channel EQs, sweep the filters, and send the mix through the effects loop: echo, reverb, gate and flanger, or through the spatial FX: tape echo, spring, plate and BBD ensemble. Drag the knobs and faders on the panel itself or use the controls below; double-click a knob to reset it. The meters read the real signal. Everything is synthesised in your browser with the Web Audio API; no samples or recordings are loaded. It is a software model of the intended behaviour, not a recording of the analogue hardware. The model runs in an AudioWorklet where the browser allows it: 32-bit float throughout, a split filter that is exactly bypassed at the centre, optional texture, oversampled soft saturation with internal headroom, and a true-peak limiter on the output only. The hardware design has no limiter in the master or booth path; the model has one so that nothing clips in a browser. You can record the master as a lossless 32-bit float WAV file. 32-bit float is a file format here: it says nothing about the analogue path. You can also load your own lossless files (WAV, AIFF or FLAC) onto the four decks and play them through the same strips and master. They are read in your browser and never uploaded.
A real-time 3D model of the design, drawn in your browser with three.js and WebGL: brushed-metal and anodised materials, studio lighting, no images or models downloaded. Drag to orbit, scroll or pinch to zoom, then turn the knobs and faders; they move the same controls as the panel above, so the sound follows. It is an illustration of the intended design, not a render of a built unit.
The 3D view loads when you ask for it, to save data.
The brief comes from what DVS1 has said in public: published interviews and his own booking riders. Each row below pairs a feature with his words, word for word and linked to the source. Each source also has a page in the press archive. Rows marked partly documented rest on an inference, and the list underneath says where the design departs from him or where nothing is documented. The interviews are cited as the design brief, not as an endorsement. DVS1 has not reviewed or approved the M4.
| Feature | Because he says | The M4 does | Basis |
|---|---|---|---|
| Four identical channels |
| Four identical strips, so two decks of each kind and a third layer all have a channel. | Documented |
| Phono or line on every strip |
| A phono / line switch on each strip, because he splits his sets between records and digital files. | Documented |
| A filter on every strip |
| One high-pass / low-pass filter per channel, bypassed at the centre detent. He calls filters nice; he does not say he wants one per channel. | Partly documented |
| Nothing between the decks and the speakers |
| No effects in the main signal path unless you switch them in (the FX loop and the optional spatial FX are off and hard-bypassed by default), no screen, no menus, no DJ software. The optional USB-C interface is a tap off the analogue path for recording; it is not in the audio path. | Documented |
| Built to be worked, not left |
| Large knobs and 60 mm faders, in the same place on every strip, to be ridden all set. His statements do not mention knob size or spacing; that part is the designer’s inference. | Partly documented |
| Channel faders |
| A linear channel fader on each strip. He talks about volume and fader levels; he does not say whether he prefers linear or rotary faders. | Partly documented |
| EQ to fit a third track in |
| Shelves that go to full kill (and bells that cut 27 dB), so a band can be cleared for the next track. He says he EQs to make tracks fit; how far he cuts is not documented. The second quote is a writer’s account of one show. | Partly documented |
| Hear the room in the booth |
| A BOOTH level knob on the panel and a separate balanced booth output, so the monitors are controlled from the mixer. The M4 supplies no speakers. | Documented |
| No compressor in the monitor path |
| No compressor or limiter anywhere in the master or booth path of the hardware design. (The browser demonstration has an output limiter; see the context list.) | Partly documented |
| Dark booth |
| A METER DIM switch that turns the LEDs and meter lamps down to a low amber. | Partly documented |
| Headphones |
| A PHONES output on 6.35 mm and 3.5 mm, sized for DJ headphones of the kind he names; both outputs can be used together, with split cue. How he cues is not documented, so cue / mix, split cue and the dual outputs are the designer’s choice. | Partly documented |
| Very long sets |
| External linear supply, no firmware and no boot sequence, user-replaceable faders and pots. His statement is about the length of his sets; these are inferences about what suits them. | Partly documented |
Quotations are word for word from the linked pages (checked by script against the page text). Everything else on this page is the designer’s own wording. They are cited as the design brief, not as an endorsement, and DVS1 has not reviewed or approved the M4.
The design brief on this page uses verbatim lines from these published sources. Each link goes to that source’s existing page in the press archive. No new quotations are added here. DVS1 has not reviewed or approved the M4.
Targets for the finished mixer. No measured results are published yet.
| Item | Target |
|---|---|
| Channels | 4, each phono / line switchable; trim ±15 dB |
| Phono stages | 4 low-noise op-amp RIAA stages (NE5534 / NE5532 class), accuracy ±0.2 dB, 47 kΩ with switchable loading |
| Channel EQ | 4-band: HI shelf 3 kHz and LO shelf 180 Hz, +6 dB to full kill; HI MID 1.1 kHz and LO MID 350 Hz bells, +10 / −27 dB; flat at 12:00 |
| Channel filter | One-knob split filter: LPF counter-clockwise, HPF clockwise, 12 dB per octave, low fixed resonance (Q 0.71); dead zone at centre with relay true bypass |
| Texture (optional) | Per-strip texture: clean state-variable, ladder, comb, bitcrush; resonance, drive, LFO / envelope on cutoff. Analogue ladder / OTA option and DSP card, both design targets |
| Faders | 60 mm conductive plastic, user-replaceable; no crossfader |
| Master section | 3-band master isolator, master and booth levels, mono switch, VU meters L / R |
| Audio path | Fully analogue and balanced, op-amp inverting summer; no converters in the signal path |
| Maximum output | +28 dBu balanced |
| Frequency response | 10 Hz to 40 kHz, ±0.25 dB (line in to master out) |
| Distortion | THD+N below 0.003% at +4 dBu, 1 kHz |
| Noise | Signal-to-noise above 105 dB, A-weighted, line in to master out |
| Crosstalk | Below -95 dB at 1 kHz between channels |
| Headphones | 6.35 mm and 3.5 mm outputs that can be used together; cue / mix blend and split cue |
| Outputs | Master XLR, booth XLR, record RCA, optional transformer isolation |
| Power | External linear supply |
| Effects loop | Switchable send and return with four tempo-locked effects: echo, reverb, gate and flanger; hard-bypassed when off |
| Spatial FX (optional) | Design target: per-channel sends to a stereo send and return with a mode control. The browser model has four modes (tape echo, spring, plate, BBD ensemble); at return 0 it adds nothing and the hardware switch takes the engine out of circuit. Not built or measured; DVS1 favours minimal effects, so this is the designer’s addition (manual, section C) |
| USB-C interface (optional) | Design target: record 4 channels plus master and play back, USB Audio Class 2.0, two 4-channel 32-bit ADCs (datasheet dynamic range 122 dB in 4-channel mode); 32-bit float files are produced on the host. A tap off the analogue path |
| Left out on purpose | DJ software, screens, menus, crossfader |
Each figure is labelled. Design target is a goal for the finished mixer. Calculated is worked out from a published formula with nominal parts and ideal op-amps; the working is in the manual. No measurements are published yet.
Every stage has a schematic with values and sources on the schematics page and as its own Circuit Atlas page, starting at S1 RIAA.
Circuit Atlas
Block diagram and a drawing for each stage: RIAA phono, line input, isolator building block, three-band master isolator, four-band channel EQ, channel filter, VCA fader, FX loop, master, headphone amp, power supply, USB-C interface, texture, spatial FX (design target). Each stage also has its own page.
Rev 2027.4 draft
Controls, signal flow, design targets, calibration plan, measurement plan and safety. Online, as a PDF, and as Circuit Atlas section pages.
Circuit Atlas
Terms from the manual and schematics, each linked to its section. Simulation terms are labelled as such. Design targets and calculations, not measurements.
HUSH M4 is in development. The documents above are Rev 2027.4 drafts. Every figure is a design target or a calculation; nothing has been measured yet. There is no price and no ordering. Images marked AI render are generated illustrations of the intended design, not photographs of a built unit.
There is no form, sign-up or contact route for this product, and nothing is stored on this site. No manufacturer schematic or branding was copied.
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