Back at the NAMM show in 2012, Mackie kicked off a not-too-quiet revolution with its DL1608 iPad-enabled digital live mixer, which had 16 mic/line inputs and eight outputs (six aux sends plus L/R master outs) and a $999 street price. With its touch screen control; full-on snapshot automation/recall; onboard dynamics and 4-band parametric EQ’s; 31-band output graphic EQ’s; onboard reverb and tap delay; and wireless iPad control, the DL1608 was cool.
Not that the DL1608 was perfect. Some months later, when I reviewed the DL1608, my wish list included a steel (rather than plastic) chassis, 32 inputs, digital I/O and an internal (non-wall wart) power supply. Along the way, maybe Mackie was reading my mind — or at least the December 2012 issue of FRONT of HOUSE. In fact, my DL1608 test concluded that the mixer “builds a strong foundation for expansion into some higher-end alternatives. I wonder what Mackie has in store next?”
Well now, we know. Just a few weeks ago, Mackie unveiled the DL32R, which makes all of those previously suggested improvements (and a lot more) into a fully pro-level product with a street price of $1,999. The unit arrives at dealers in November and to the public in December, but here at FRONT of HOUSE, we can’t wait to check out new technologies and dove into a late-beta unit that’s about 99 percent ready for market.
Basics
As its name implies, the DL32R is a 32-channel digital console that’s housed in a three-rackspace unit. All of its 32 inputs (24 XLR, eight XLR/TRS combo) feature Mackie’s all-new-generation Onyx+ recallable mic preamps — there’s none of that “32 channel mixer with 16 preamps and eight stereo channels” stuff. What’s missing here is physical controls, save for a front panel headphone level knob and an AC switch for the built-in 100-240 VAC power supply. Every other parameter, from mic trims through output assignments — along with DSP, house/monitor mixing and 24 in/out 24-bit/48 kHz multi-track capture/playback (soon to be expanded to a full 32 x 32 capability) — all controlled from an iPad using Mackie’s Master Fader app.
Built into a rugged 18-pound, 3U steel/aluminum chassis, the DL32R more resembles a stage I/O box than a console. The rear panel has a large venting section for airflow and two small rear fans that are fairly quiet, especially in onstage applications. Also on the Spartan rear back panel is an IEC AC socket, AC switch and USB ports for connecting a record/play drive or a Mac/PC connection. The USB 2.0 ports are provided with Type A and B connectors. The two can not be used simultaneously; the “A” port (for hard disk connections) takes priority over the B port, which is used for employing the unit as a 32 x 32 recording interface for direct-to-DAW feeds.
A removable rear panel expansion slot, comes factory fitted with a Cat-5 100 Mb network port that connects to your wireless Ethernet router to provide iPad access to the DL32R functions. Mackie has announced the availability of a Dante audio networking expansion card to be released at some future date.
At 17.5 inches, the unit is fairly deep, but the rear of the DL32R tapers down into a flat shelf-line area. Atop that are four small raised metal loops that accommodate nylon ties used to secure a Wi-Fi router and/or a USB hard disk — small, fragile items that otherwise always seem problematic to keep in place during live gigs.
That said, as a product that for portable use, the DL32R really screams “put me in a rack case,” given that fact that in most applications, it will sit unattended onstage and you really don’t want the drummer’s boyfriend to set a beer next to the air vents or have the bass player lay a spare SVT head on top of your hard disk and Wi-Fi router.
The front panel is where the action is, with the 24 XLR and eight Combo XLR/TRS inputs; 16 assignable XLR outputs; stereo AES digital output; headphone jack/pot; L/R TRS monitor out jacks. The latter would be ideal for connecting a wireless IEM system that could allow the FOH engineer detailed listening access from anywhere in the house. Also on the front are two LED’s that glow green to indicate AC power and active network connections. Beyond the 32 input channels, there are also four return channels (each with dedicated EQ and compression) for the onboard reverb and delay effects.
Diving In
For this evaluation, Mackie sent a DL32R with a beta copy of the unreleased Master Fader version 3.0 software installed on an iPad Air. Also for this “mixing without a net” experience, no user manual was available at the time, so I was on my own to dive in and get working. Fortunately, the DL32R is intuitive to set up and the Master Fader app is a breeze to navigate. About all that was required was connecting a Wi-Fi router (I used a $99 Apple AirPort Express) to the DL32R’s network connector and it was plug and go.
There are certain similarities to running Master Fader on a DL1608, yet the DL32R goes much deeper, with its six matrix buses, six VCA’s and six mute groups. Channels can be arranged in dual-input “A” and “B” setups, so switching over from track playback — say from a virtual sound check stored from the night before — to direct channel inputs from the stage is fast and effortless. Of course, since the DL32R can reside on that same stage, there’s no need for dealing with snakes.
The app itself is designed for simplicity and speed. Channels are laid out clearly (eight at a time) and a finger swipe across the screen gets you to where you need to be. There’s also a “view group” mode, showing all channels at a single glance. Meanwhile, functions like I/O routings — which can be convoluted — are made simple and quickly and logically accomplished within the routing screen.
A record screen keeps track of captured and playback files, all maintained on the outboard USB drive as stereo or multichannel WAV files in 48kHz, 16- or 24-bit resolution. Unlike recording/capturing to a laptop, one advantage here is that the Master Fader software provides complete control over both the console and all record/play functions. And, recording can be initiated/stopped from anywhere in the venue, as can the triggering of sound files for virtual sound checking or background/walk music. And as mentioned, the unit can double as a 32 x 32 USB recording interface direct to your DAW.
So repeatedly playing back last night’s second encore drum solo and tweaking the room response while walking the house is a reality. And all the output buses have feature 4-band parametric EQ, 31-band GEQ, compressor/limiter and alignment delay.
The 31-band graphics can be adjusted band by band or by pressing on the touch screen to draw the desired curve. User settings for all DSP can be stored as presets for recall or later use and likewise, entire mixes can be named, stored and archived as snapshots or as shows.
Both EQ and compression are provided with “Modern” and “Vintage” voicing options, with two different palettes of choice. The reverbs and tap delays are essentially the same as the offerings from the DL1608 — both are solid and eminently useable, with a good selection of factory sounds and the ability to store user presets.
One thing that caught me somewhat off-guard was the DL32R’s new Onyx+ preamps, which take the performance of Mackie’s flagship Onyx preamps (0.0007% THD) to the next level. The new digitally-controlled Onyx+ exhibited absolutely no zipper noise or artifacts, were whisper clean, with tons of headroom and consistent response at any level.
Another plus is the level of user-defined access control. Up to 10 iOS devices (enough for most bands) can be given control to create their custom monitor mixes or even trigger a click track/backing music — all without players being able to muck with the FOH mix parameters.
Most of the system’s minuses stem more from the iPad itself rather than the hardware. iPads can be difficult to read in bright sunshine. And dropping or losing your iPad can create a problem — a good reason to carry a spare, as well as an AC supply in case your battery droops during the show. I did try pulling the plug on the router while the DL32R was running and the audio continued without even a hiccup as I re-powered the router and re-locked the iPad on the restored Wi-Fi signal. Also, make sure that the unit is placed where the signal from the router is not blocked, buried or obstructed from access to the stage and house areas.
The Big DL32R Picture
Is it cool? Definitely. Is it ready? There are still a few minor software tweaks in areas such as the routing screen and the recording track capture, but operationally, the software was quite stable and is about 99 percent complete, so the DL32R should hopefully be on-time for its December shipping. Retail is $2,499 (street expected to be around $1,999) — so the DL32R presents an affordable and powerful alternative to traditional console approaches.
At a Glance
Mackie’s iPad Mixer Grows Up
The DL32R presents an affordable, full-featured live console that’s under wireless control, yet doesn’t cut back on functionality, while also offering flexible multi-track playback/capture.
Mackie DL32R
PROS: Simple operation; solid construction; clean audio; useful DSP; eliminates the need for stage to FOH snakes.
CONS: Case strongly advised for portable applications; subject to iPad limitations such as fragility, daylight viewing and battery life.
Price: $2,499 (MSRP); $1,999 (street).
Manufacturer: Mackie
More Info: www.mackie.com/DL32R
