I’m not really sure if this is a review of a product or a phenomenon. Since it was unveiled at the 2012 Winter NAMM Show, the industry has been talking about Mackie’s DL1608, an iPad-enabled digital live mixer, to a level that hasn’t been experienced since the Alesis ADAT hit the streets some two decades ago. Part of this stems from the mixer’s impressive price/performance ratio and part comes from simply offering a cool — and convenient — way of working in the live environment.
With a street price of $999 (not including your iPad 1, 2 or 3), here’s a 16×2 digital mixer with touch screen control; full-on snapshot automation and recall; dynamics and 4-band parametric EQ on all inputs; onboard reverb and tap delay; and six aux sends for monitor mixing. The unit also offers dynamics and 31-band graphic equalizers on the L/R stereo main outputs as well as all the aux out channels. I also like the fact that it actually has 16 line/mic preamps — there’s none of that “it’s a 16-channel mixer, with eight mic inputs and four stereo line inputs” stuff that’s so common in many other small-format mixers.
In fact, the DL1608 goes one step further by also providing two stereo return channels for the onboard reverb and delay effects, as well as a stereo playback channel that can play music tracks stored from the iPad for backing tracks, walk music — or even karaoke-style applications. And with what on any other mixer would be a simple tape input pot, the DL1608’s iPad channel (the last input on the mixer screen) has 4-band EQ, reverb, dynamics, mutes and soloing. Additionally, you can capture your stereo mixes directly to the iPad, as 44.1/48 kHz, 16/24-bit uncompressed stereo files.
The Compact Concept
The use of the iPad as a controller is brilliant. The Mackie Master Fader App (currently at version 1.3) is a free download, and also offers potential users a chance to try out the software and get a feel for it before committing to a console purchase. This also allows offline creation/archiving of mix setups before arriving at the gig, including channel identification using names, supplied icons or load your photos/graphics under each channel strip. Using the iPad as an integrated part of the mixer makes a lot of sense, and based on a widely used commodity, provides a lot of bang for the buck, much in the same way that an audio analysis application or DAW/recording software can be loaded into a laptop to create a cost-effective system rivaling a far more expensive hardware-based rig. The production advantages are substantial when you don’t have to create the OS and slick touch screen interface. Why reinvent the wheel if it’s already there?
The DL1608 hardware is pretty Spartan. The “mixer” section, which does not function without the iPad controller, consists mainly of the I/O (analog XLR inputs on channels 1 to 12 and XLR-TRS jacks on 13 through 16), six TRS aux outs and two balanced XLR main outs. There are 16 input gain pots, switches for power and global 48 VDC phantom, a headphone volume control and an Ethernet Wi-Fi/network port. Under the molded plastic housing is the A/D/A processing (all 24-bit Cirrus Logic converters), the analog front/back-end circuitry and the mixer’s DSP soul.
The unit is compact, at 11.5 by 15.5 by 3.9 inches (WxDxH), and weighs just under eight pounds without the iPad or external power supply. I’m not a huge fan of the latter, but it helps keep costs down. On the plus side, the power adapter has a secure, screw-on, locking barrel connector at the mixer end.
CHECK OUT THE MACKIE DL1608 VIDEO TOUR ON FOH-TV
Speaking of power, the iPad slides into a 30-pin dock connector that supplies DC and data interconnectivity. The mixer’s tray is designed to accommodate any full-size iPad 1/2/3 and even include a PadLock™ bracket that locks your iPad into position onto the mixer for permanent installs, preventing theft or simply to keep it from falling out during transport. The DL1608’s rear panel also supports a Kensington lock, as another means of keeping your mixer where you left it. An optional rack mount kit attaches to four threaded insets under the mixer. I found that the underside of the DL1608 ran fairly warm. Over long-term use, I recommend finding some threaded rubber feet that fit into those same inserts to create some cooling airspace under the mixer.
Going Wireless!
So far, I really haven’t mentioned wireless operation, but this is a key strength of the DL1608. The mixer will not operate without an iPad. However, if the mixer is connected to a suitable Wi-Fi router, the real fun begins, allowing wireless operation with the iPad as a controller for FOH mixing, room setup, ringing in monitors, or adjusting monitor mixes directly from the stage or anywhere in the house. An Ethernet port on the rear of the DL1608 makes this possible, and the mixer can either tie into an existing network and have the iPad log onto that same network, or simply get an 802.11n wireless router, connect it to the DL1608 directly and have the iPad pick up that signal. This way, you don’t have to depend on someone else’s network when you set up at a club, outdoor street festival, union hall or church. It should be emphasized that no Wi-Fi connection is necessary as long as the iPad directly connects to the DL1608, but if you want to “cut the cord,” a router or network connection is a must.
I used the DL1608 with an 802.11n Apple Airport Express, which worked seamlessly and was absolutely plug-and-go. Mackie’s website offers a list of Wi-Fi routers that have already been tested. Theoretically, any 802.11n (or possibly 802.11g) Ethernet router with Dynamic Host Configuration Protocol (DHCP) to assign an IP address to the DL1608 should work. Yet going with the tried-and-true selections isn’t a bad idea, especially as routers are fairly inexpensive and widely discounted.
Getting In Gear
So one Ethernet cable connection to the router, a quick selection on my iPad’s “settings” panel, and I was good to go. DL1608 operations begin with the “Mixer View” screen can display up to eight channel strips and the main L/R output, as shown in Fig. 1. Viewing other channels is accomplished by “swiping” — touching any black area of the screen and dragging your finger to the right or left. This screen offers access to most mix operations, such as mute, pan, level or solo, with large, full-scale and highly responsive meters behind each fader. Above each fader is a red horizontal gain reduction meter indicating operation of the onboard dynamics, and above that is a small green screen that shows an approximation of the EQ curve.
A tap on the latter brings up the EQ screen (Fig. 2) and from here, the reverb/delay and compressor/gate screens are accessed by swiping upwards or downwards. All three of effects screens have a simple, easy to use design for fast tweaking and storage of settings, either from users themselves or from a list of factory presets designed for vocals or specific instruments. How do these sound? If you’re expecting exact clones of UREI 1176’s, LA-2A’s, Massenburg parametrics or Lexicon 480L’s, you won’t find those here, but all of the DL1608’s onboard plug-ins range from serviceable to pretty good and comparable — if not better — than the type of processing found in any other mixers in this price range. All offer parameters that can be tweaked to taste and the EQ page also includes a polarity “phase” reverse switch and a tunable high-pass filter.
I was pleased with the 31-band graphics on the L/R mains and all the aux outs. These EQs can be adjusted band by band, by moving the “sliders” up/down, or simply by pressing on the touch screen and drawing the desired curve, which can be used as is, or manually adjusted from that point. And user settings can be stored as presets for recall or later use. Likewise, entire mixes can be named, stored and archived as snapshots or as shows.
Impressions
I’m amazed at this little wonder. It delivers what it promises and more. And the DL1608 can be controlled by up to ten iPads at once (including the new iPad Mini). This creates the basis for an affordable rig with personal monitoring stations, with the ability to set access limits on certain mixes, so the drummer can’t tweak the room EQ. The overall sound quality of the DL1608 is quite good and anyone familiar with the company’s flagship Onyx preamps should know what to expect. The DL1608’s price point brings “walk the room” tablet mixing to a whole new audience, especially to club and smaller HOW users. It even opens up some slick tricks like leaving the console rig onstage, mixing wirelessly from the house, while avoiding the issue of mic snakes and long main/monitor cable runs.
Sure, it would be nice if the DL1608 had a steel chassis, 32 inputs, subgroups, digital I/O, cascade ports, channel inserts, Dante/MADI interfacing and more. Yet at $999, this one’s a winner that builds a strong foundation for expansion into some higher-end alternatives. I wonder what Mackie has in store next?
Mackie DL1608
Pros: Well-designed GUI for fast operations, ease of wireless operation, great pricing.
Cons: External power supply, plastic chassis, circuitry runs warm.
How Much: $1,249/MSRP; $999/street.
Website: www.mackie.com
