Mackie DL1608 Mixer Review
Sep 19, 2012 10:43 AM, By John McJunkin
A flexible handheld device built for iPad control.
Clearly the physical mixer half of the system is very simple compared with other 16-input mixers. The reason for this is something I’ve dreamt for a long time—a computer-based GUI representing the entirety of the mixer’s controls. As we noted earlier, the control of consoles by computer GUI is nothing new, but the DL1608 leverages the genius of the iPad to arrive at a much simpler system that is accessible to pro-sumer level users. The Master Fader app for the iPad does indeed grant complete control over every parameter of the mixer with the notable exception of input gain and phantom power. Upon powering up the system, the iPad informed me that a firmware change was necessary to use the system with the first generation iPad I had (a very quick and hands-off operation), and much appreciated. In many systems, there is a necessary search through error numbers and a download of firmware, patches, and/or drivers. In this case, it just resolved the issue autonomously.
Once that was sorted out, I had the main display of the GUI on the iPad—the first eight channels of the mixer. From bottom to top, there is a icon identifying the channel, a solo button, a fader (with a level meter alongside), a horizontally oriented pan slider, a mute button, and an EQ display that doubles as a button that brings up near full-screen displays for EQ and dynamics processing. Each channel has a four-band parametric EQ (shelf or bell in the high and low end, and two fully parametric mid bands), a gate, and a compressor/limiter. Between the main level fader and horizontal pan slider of each channel is a horizontally oriented gain reduction meter that shows the net effect of that channel’s dynamics processing. Of course, each channel can be named, and the channel identification icon at the bottom of each strip can display a graphic representation of the signal passing through it, or even a photograph of the musician, which can be taken with the camera in the iPad.
Each of the 16 channels has six auxiliary sends, along with reverb and delay sends. To the right of the master fader are nine buttons that determine the output of the currently displayed mix: LR, auxiliaries 1-6, reverb, and delay. To increase the reverb send on channel 4, one simply taps the reverb button to the right of the master fader, and then brings up the fader on channel 4. Below the fader in any given mix is a colored line, and each of these nine mixes displays a distinct color, indicating what is under control at a quick glance.
The master output offers a 1/3-octave graphic EQ with 12dB of boost or cut, and a compressor/limiter. The mixer’s reverb and delay are very useful, and the reverb in particular sounds very good, with small to cathedral-size rooms, along with plate and spring simulations. Alongside the effects returns is a fader controlling level of whatever audio the iPad is currently outputting—perfect for playback of music between sets, or in a recording application, for overdubbing. The software behaves exactly the way you’d expect it to if you’re accustomed to the gestures of the iPad or even iPod or iPhone. The mixer responds to either an iPad cradled in the space in the front panel, or remotely by an iPad connected via Wi-Fi. Up to 10 iPads can simultaneously control the mixer, facilitating musicians using their own iPads to create their own “more-me” mixes on stage.
Mackie recommends using the most up-to-date iPad you can get your hands on, but despite using a first-generation iPad to control the DL1608, I found the experience smooth, free of glitches, and largely self-explanatory. I’m sure that a third-generation iPad with maximum RAM would make it even better. As I said before, wireless walk-around mixing with a handheld touchscreen has been a dream of mine for many years, and now that a very reliable and extensively appointed system is within the grasp of pro-sumer-level users, I will stand by my prediction that virtually every digital mixer made will have this capacity within the next three years. This is a very intuitive and satisfying way to mix, and I’ll be looking forward to advancements within this domain. Mackie nailed its first foray into this market, and I would recommend this product if you need a 16-input mixer at all, much less a remotely controllable one. This is a huge home run for Mackie.
Pros: Great audio quality, up to 10 iPads at once for personal monitor mixing Cons: Could use more 1/4in. TRS inputs Applications: Small-venue music mixing, conference, boardroom, portable AV Price: $1,249 (MSRP); $999 (street)
Sample rate: 48kHz
A/D/A bit depth: 24-bit
System latency: 1.5 milliseconds
Frequency Response (All Ins to All Outs): ±0, -1dB, 20Hz to 20kHz
THD (mic input to main output): 1kHz, -1dBFS <0.005%
Noise/Dynamic Range/Signal To Noise Ratio
EIN (150Ω termination): -128dBu
Mic input to Main output (A-weighted)
Channel/Main Faders @ unity: -79dBu
Faders down: -90dBu
Crosstalk (adjacent inputs): < -120dB @1kHz
Crosstalk (outputs): < -105dB @ 1kHz
Signal-to-Noise (ref +4dBu, 1ch/main at unity): 92dB (A-weighted)
Dynamic Range (1ch/main at unity): 109dB (A-weighted)
CMRR: >70dB @ 1kHz (60dB gain)
Inputs 1-12: 3kΩ
Inputs 13-16 mic: 3kΩ
Inputs 13-16 line: 30kΩ
Max Input Level
¼in. TRS: +30dBu
XLR: 0 to 60dB
¼in. TRS: -20 to 40dB
Analog Main Output L/R
Max Output Level: +21dBu
Analog Aux Sends 1-6
Balanced Impedance: 240Ω
Unbalanced Impedance: 120Ω
Max Output Level: +21dBu
Analog Headphone Out
Max Output Level: +18.0dBu into 600Ω; +19.5dBu max into 100kΩ
Front Height: 1.6in./40mm
Rear Height: 3.7in./95mm
Rack: Nine rack spaces
John McJunkin is the principal of Avalon Podcasting in Chandler, Ariz., and produces and co-hosts a top-rated morning radio talk show in Phoenix, Ariz. He has consulted in the development of studios and installations and provides high-quality podcast and voice production services.
Acceptable Use Policy blog comments powered by Disqus