Cacophony Forums
Unofficial Mackie User Forums => DL1608/DL806/DL32R/ProDX Mixers => Topic started by: Fluddman on July 18, 2013, 02:06:48 AM
-
Wow I surprised myself and came home with a new DL1608 yesterday
Despite being well aware of its shortcomings and the imminent arrival of the iX16, I still went ahead and bought it. :facepalm:
In my defense, I have gigs coming up where I will use every one of the 16 mic preamps and there is nothing (at the moment) comparable at this price point.
The Master Fader App really impressed me and it was the main reason for my tempory lack of sanity.
Must go and vote on my preferences for the next update ;)
Cheers
-
Welcome aboard Fluddman! The iX16 may not make it on this years Xmas list. Behringer is already holding up the other X32 units. My buddy is a Behringer distributor and can't get the S16 snake to go with his X32. Their X32-Mix software IMHO has a steeper learning curve than Master Fader, but is also way more granular and detailed. Can't really put my finger on it. Their production line seems way behind in relation to their marketing hype. I also couldn't hold out for the iX16 either.
-
Thanks Harpman.
I am guessing it will take even longer for the iX16 to make it to Australia!
My first gig with the DL1608 is on Saturday. My biggest worry as you alluded to in another post is feedback in the foldbacks. One of the singers can go from a whisper to a scream so I usally run a heavy does of compression on his mic. Don't reckon I'll get away with more than a tad of compression with DL - but we'll so how it goes!
Cheers
-
I looked back on my compression and gating settings for the venue we just played (reloaded the show) and compression and gating were OFF for the vocal channels. Must have inadvertently loaded another show or preset. The threshold was set for -20dB, ratio at 4:1, soft knee with fast attack/release and about 7dB in makeup gain. Now its starting to make sense :eek:
-
My biggest worry as you alluded to in another post is feedback in the foldbacks. One of the singers can go from a whisper to a scream so I usally run a heavy does of compression on his mic. Don't reckon I'll get away with more than a tad of compression with DL - but we'll so how it goes!
I just use it as a limiter - set it so normally there is no gain reduction but it does limit on "screams".
-
Thanks RR
-
You bought a great little mixer. I have no regrets at all, and like already mentioned, I wouldn't be holding my breath waiting for the iX16!
-
Its a fantastic little mixer and I think there are a few people that have overly optimistic expectations from a device at this price point (and therefore can be quite negative) and which has essentially changed the game for a whole range of musicians and engineers. The fact of the matter is that it is perfectly useable, stability is very very good and any additions from this point on are a welcome bonus. You'll have a great time with it.
With regards to the compression and feedback, I run a reasonable amount of compression on my vocals and don't have much of an issue with feedback, obviously there are limits. Careful choice of mics and monitor positions will help to stop this becoming too much of an issue.
Good luck and let us know how you get on.
-
Its a fantastic little mixer and I think there are a few people that have overly optimistic expectations from a device at this price point (and therefore can be quite negative) and which has essentially changed the game for a whole range of musicians and engineers. The fact of the matter is that it is perfectly useable, stability is very very good and any additions from this point on are a welcome bonus. You'll have a great time with it.
With regards to the compression and feedback, I run a reasonable amount of compression on my vocals and don't have much of an issue with feedback, obviously there are limits. Careful choice of mics and monitor positions will help to stop this becoming too much of an issue.
Good luck and let us know how you get on.
Couldn't have put it better myself!
-
Thanks for the encouragement guys!
I am sure it will do the job and I look forward to using it for the first time tomorrow.
Cheers
-
Couldn't have put it better myself!
Thanks Robbocurry :D
-
Also new to the club and traded in a Presonus SL16.4.2 to go the wireless route.
Still have a lot to learn and worry a bit about monitor feedback. Until I'm comfortable I still run the aux sends thru a EQ unit prior to the power amps. This way I can pull the level down in a nano second if I hear feedback. As I get better I will phase that piece of gear out.
Love the 1608 and the technology. Plus it more fun to mix when I can walk the room.
I mixed one set with the ipad and the second using my iphone and the myfader app.
Both worked well except the myfader is really only good for levels and mute. No EQ, pan, FX options. There are things I would improve on the next software upgrade...but thats a different topic.
Love seeing others comments.
-
G'day Rdmitch,
Interesting that you traded in the SL16.4.2 - I own a SL16.0.2 (still do) and bought the DL1602 to get a few extra preamps and better EQ.
Had I owned the 16.4.2 (instead of the 16.0.2) I reckon I would have held off on the DL1602 and waited to have a look at the Behringers.
Were you not mixing wirelessly with the SL16.4.2? I am curious because I aways thought the 16.4.2 is a much better mixer than its little brother and probably better than the DL1602.
Cheers
-
Forgot to mention that my first gig with the DL1608 was a non event. Although I did lots of testing at home prior to the gig I didn't realise that the Airport Express I use for gigs did not have a Lan port to connect to the DL1608 :facepalm:
I ended up using the StudioLive for the night. The DL1608 will just have to wait until next week :lol:
-
The SL 16.4.2 was a great board, but wireless operation required way too much work and I need fast set up and ease of use. While the SL had great FX and probably was a better thought out board, I had it go out on me at shows at least 3 times (at different shows) and honestly I just could not trust it in a live situation. In a studio or permanent installation it would have been great.
Calls and emails to Presonus really did not solve the problem so the chance to trade it in for the DL was an easy call. I don't need ultra sophistication since I mostly do small shows and my own small combo gigs. The ability to eliminate snakes, run sound from the floor or adjust my monitors and do quick fixes from on stage was a great help
-
Fair enough RDmitch - sounds like the DL will be a good match for your requirements. I hope it works out very well for you.
Cheers
-
After last weeks gig being a non-event, at least as far as the DL was concerned, I am starting to get organised for tomorrow's gig where hopefuly the DL will make its debut. I've tested and retested the wireless operation with a new Airport Express and I am confident of a great gig.
It's at a nearby winery - so I think the biggest challenge will be staying off the local product :o for the four hour gap between sound check at 6:00pm and the actually gig at 10:00pm (dinner and drinks are part of the deal :eek:).
Hopefully the DL can hold its liquor :lol:
-
I'm sure both you and the DL will do just great.
Just be careful not to drop or spill anything on the pad when you go wireless. I found that
I tend to play with the settings a lot out of boredom and because its so convenient.
I have to learn to use more restraint and after it sounds good to set it and forget it!
This weekend I have to do a outdoor car show and mix from onstage while playing drums.
I'll get a good overall mix during sound check, and than friend with "good ears" out in the audience
will signal me with any tweeks to be made.
-
Why not give the friend with good ears (and an iPhone maybe) My Fader and let him tweak as required ;D
-
Well I finally did my first gig with the DL1608.
Apart from a few teething problems, such as convincing the venue that no we couldn't just use one power outlet and then getting the wireless to connect, the gig went very well. In fact I was surprised at how good it sounded and in particular how well the GEQs worked on the aux sends. I had absolutely no feedback issues (as this was my biggest concern) - I still worry about the lack of a master fader page and the how much time it would take to flip through the aux sends (especially in a panic) to adjust any offending levels but this certainly wasn't a problem last night.
Another thing that surprised me was how loud it seemed to be in comparison to the Studiolive I used the week before. Of course this is very hard to substantiate because I was in a different room with a different band, but I seemed to have more headroom. The week before I was constantly tickling the limiters on my FOH speakers (JBL PRX)- this week there was't even a flicker on the limiter lights and it really seemed louder, particularly in terms of the vocals cutting through. My guess is that the Eq works much better on the Mackie - especially the high pass filters.
I think it will take a few more gigs before I stop taking the Studiolive with me as a backup but my confidence in the DL is definitely growing :)
-
While I prefer not to, I generally have no problem running off one circuit, backline and all.
-
Another thing that surprised me was how loud it seemed to be in comparison to the Studiolive I used the week before. Of course this is very hard to substantiate because I was in a different room with a different band, but I seemed to have more headroom. The week before I was constantly tickling the limiters on my FOH speakers (JBL PRX)- this week there was't even a flicker on the limiter lights and it really seemed louder, particularly in terms of the vocals cutting through.
I doubt that the console was the difference. Most likely as you suggested, the different band and room are the likely factors.
-
+1 Acoustics, mics, mike placement and technique, speaker placement, and gain structure are by far more of an influence than any mixer. Your desire to have the new setup sound better also will influence your opinion.
-
While I prefer not to, I generally have no problem running off one circuit, backline and all.
Cheers RR
I can't quite do it on one outlet as I run lots of lights. The one outlet that they wanted me to use was also powering a very large drinks fridge. It was a recipe for disaster!
-
Greg C and WK154 - you are probably right.
I do reckon that the high pass filters work much better on the DL1608 than on the Studiolive.
Cheers
-
I do reckon that the high pass filters work much better on the DL1608 than on the Studiolive.
You reckon correctly. I forgot that the HPFs on the Studio Live are a confounding 6dB per octave slope which is awful. Whoever made that choice of slope need to get their head checked. That alone for me is a reason to not buy one. 12dB per octave is the minimum slope you would want on any mixer. 18dB per octave is better though I'm not a fan of odd order filters. I really dig the 24dB per octave HPFs on the higher end console I use.
-
I do reckon that the high pass filters work much better on the DL1608 than on the Studiolive.
You reckon correctly. I forgot that the HPFs on the Studio Live are a confounding 6dB per octave slope which is awful. Whoever made that choice of slope need to get their head checked. That alone for me is a reason to not buy one. 12dB per octave is the minimum slope you would want on any mixer. 18dB per octave is better though I'm not a fan of odd order filters. I really dig the 24dB per HPFs on the higher end console I use.
Ooh maybe that's it! I am looking forward to trying the DL in a room I'm more familiar with. Hopefully I'll notice the same pleasant improvement.
Cheers
-
On second thought send that bottle of Cab to the Presonus software guys so they can fix that 6 dB HPF slope problem. Since it is software and as as Greg pointed out.
You reckon correctly. I forgot that the HPFs on the Studio Live are a confounding 6dB per octave slope which is awful. Whoever made that choice of slope need to get their head checked. That alone for me is a reason to not buy one. 12dB per octave is the minimum slope you would want on any mixer. 18dB per octave is better though I'm not a fan of odd order filters. I really dig the 24dB per octave HPFs on the higher end console I use.
It should be fixed and maybe even made variable 6-24 dB. It is also noticeably absent from their specs.
-
People have been complaining about it since the first version shipped. I can't believe they haven't done anything about it. I'm assuming they haven't since the user guide still states, "The High Pass Filter’s slope is -6 dB/octave."
Blech.
-
Just checked the user guide for the Presonous 32.4.2AI. 6dB/oct. high pass on that one too. Seriously, on a $4000 console?
-
Yup seven words is all it rates in the manual, so you can judge the importance of HPF on that.