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Expert Review: Mackie DL1. Live Performance Digital Mixeri.

Pad meets Mackie hardware mixer in a much- anticipated debut $1,2. MSRP, $9. 99. 9. 9 streetby Craig Anderton. Few products made as much of a splash at Winter 2. NAMM as the Mackie DL1. Now, eight months later, it’s finally here—so it’s time to see if it lives up to its promise of merging serious hardware with a zipless user interface. The mixer itself is clearly designed for live performance, which puts additional pressure on the UI to live up to the “ease of use” goal.

YourTechReport is a weekly radio show and podcast reporting on the latest news in consumer technology. We feature product reviews, brand interviews and in depth. Mackie DL1608 (Lightning Connector) Retail: $749.99. Phantom Power: Switchable (one.

The DL Series Wireless Digital Mixers DL1608 and DL806 combine the power of a full-featured digital. DL Series mixers even support up to. DL806/1608 Overview.

OVERVIEWIn person, the mixer is surprisingly compact—approximately 1. The package includes the mixer itself and various accessories (Fig. The DL1. 60. 8 package contents. Clockwise from top: the mixer itself, Quick Start guide, i. Pad lock, additional guide with all the legal boilerplate stuff like “don’t eat the mixer,” and line- lump power supply. The backward- slanting rear panel has 1. XLR ins, 4 mic/line- level combo jacks to accommodate 1/4.

The rear panel is where you make all connections to the mixer. The two main outs are XLRs.

Remaining rear panel features are a power on/off switch, connector for the line- lump power supply, Kensington lock slot, Ethernet to connect to a router for wireless control, and a global phantom power switch that turns on phantom power to all inputs. There’s no way to enable phantom power individually, nor any way to exempt inputs from phantom power; several other Mackie mixers follow the same protocol as a way to meet price point.

The inputs are all teamed with Onyx preamps, whose reputation precedes them. Suffice it to say that the Onyx preamps are known primarily for accuracy, excellent specs, and clarity. They’re not intended to color the sound (and they don’t), but instead are designed with the “straight wire with gain” ethos in mind.

The front panel has 1. LED (Fig. 3: Each input has a front panel gain trim control.

There’s also a headphone jack with level control, but the biggest front panel feature is a space to slide in your i. Pad. The DL1. 60. Microsoft Assessment And Planning Toolkit Vmware Stock more. Pad from 1st to 3rd generation, and there’s an i.

Pad retainer lock you can screw into the case (security star wrench included) to hold the i. Pad in place. This is intended mostly for permanent installs, as the i. Pad is held securely without it. Besides, one of the big features is being able to slip the i. Pad out of its dock for wireless control, so it’s more likely you’ll leave the lock off rather than on. And of course, as soon as I turned on the DL1.

I was immediately reminded it’s a digital device—it wanted a firmware update (Fig. Updating the firmware was automatic and painless, and took considerably less than the up to 1. Mackie said to expect. THE USER INTERFACEIn a nutshell, it’s exceptional. But don’t take my word for it; you can download the free DL1. App Store, and run it on your i.

Pad sans mixer to get a feel for how the UI works (of course, the app won’t actually do anything useful without the mixer dock). The i. Pad is used only for control; all the DSP it controls is hardware within the mixer itself. The screen where you’ll spend the most time shows the faders (Fig. The main mixer screen. Note that the Reverb and Delay returns show stereo meters, as the effects are stereo; the input channels are mono. The master fader is always visible to the right, while swiping the screen scrolls through views of eight channels at a time. This includes inputs 1- 1.

Reverb and Delay return and i. Pad output (for playing back sounds from apps that can play in the background—pre- show music, anyone?). Each channel strip has an EQ thumbnail (touch this to enter signal processor- land), mute button, panpot, gain reduction indicator, fader with 6.

You can enter a name here, as well as select a track icon from among various defaults but you can also choose a photo or use the i. Pad camera to take a picture. I must say I used to think the concept of track icons was silly when I first saw them, but after using DAWs with track icons, I’ve found them to be hands- down the quickest way to parse tracks fast—this is a great feature in a live performance mixer. The Master Fader is quite a bit more sophisticated than just controlling a LR stereo output, because in reality, the DL1.

The Master Fader has an output selector that chooses among the LR out, the six aux outs, reverb send, and delay send. When you select one of these outputs, all the mixer faders now control the mix to that output. One obvious application is cue mixes, where you can have six separate cue mixes for different musicians by sending the aux outs to individual personal monitors. All these mixes exist simultaneously, so the main LR mix going to the house remains undisturbed to matter how you set the mixes to the other outputs. One very nice touch is each output has an associated color, which is displayed as a small strip along with the faders. Once you memorize which color matches which output, this makes it easy to see which is the currently- selected output. All Master Fader outs have a Mute button except for the LR out.

I can understand why—you don’t want to mute the output accidentally. Overall, the UI is painless.

The targets are relatively large, and it seems like some serious thought went into making the parameters you adjust the most the most accessible, but the other parameters are only a swipe or two away. It will take you 1.

DL1. 60. 8 to know your way around it. CHANNEL STRIP PROCESSORSEach if the 1.

DSP complement: EQ, noise gate, and compressor. An additional window shows sends for the built- in reverb and delay, but also shows the parameters for these effects. Although aside from sends the reverb and delay parameters are global (i.

Furthermore, the DSP section can swipe left or right if you want to scan through the settings for individual channels without having to return to the mixer and call up the DSP. The EQ (Fig. 6) has four fully- parametric bands, each of which covers 2. Hz to 2. 0k. Hz, and a high- pass filter (2. Hz). The upper and low bands can also switch to a shelf response. Fig. 6: The EQ for each input has five bands—four parametric, and a high- pass filter. The display shows nodes for each band, so you can drag those around to control amplitude and frequency in addition to using the sliders; dragging nodes gives better frequency resolution, but if you want to set really precise values for various parameters, there’s a numeric readout—touch it to enter values with the i. Pad’s virtual keyboard.

The EQ section is also where you access a polarity reverse button. The Gate (Fig. 7) has the expected controls: Threshold, Range (reduction amount), Attack, Hold, and Release. The Compressor has Threshold, Ratio (settable to infinity: 1 for limiting), Attack, Release, Soft or Hard Knee, and Gain—again, nothing out of the ordinary although the helpful metering shows input level, gain reduction amount, and output level (as does the Gate). Fig. 7: Gate and compressor parameters. The Reverb (Fig. 8) actually sounds good, and has nine different algorithms.

Parameters are Pre- Delay, Damping, Rolloff, and Decay (up to three seconds). Fig. 8: The Reverb and Delay parameters are centralized in a single view. Delay has five algorithms, along with separate tap tempo for the left and right channels (why doesn’t everyone do this?). This applies to the Stereo, Ping- Pong, and Multitap algorithms; the Mono and Tape Echo algorithms are mono, so they have a single tap tempo button. Parameters are delay (up to 1. Feedback, and Damping.

Note that some channels operate differently. Deep Freeze 6 Service Uninstall Chrome. The Master output channel has a 3. EQ, as well as a compressor like the one used for the input channels; these effects are available for all the Master Fader outs except for the Reverb and Delay sends. Also, the Auxes have a pre/post effects button.

The Reverb and Delay returns don’t have Dynamics or Gate, while the i. Pad playback channel has all DSP except Gate. EQ for the Delay, Reverb, and i. Pad channels do not include the high- pass filter.