Mackie has introduced an update to its popular DL mixer series: the DL16S and D元2S. The DL16S puts a similar feature set into a 16-channel system Another welcome development? We no longer need those bulky analog snakes. And in many cases, 100 percent of the external hardware formerly located at FOH now resides inside the mixer itself. As a bonus, artists on stage can dial in their own IEM or wedge mixes with handheld devices. Indeed, remotely mixing from anywhere in the venue with a handheld control surface has become more and more popular, particularly for touring acts who want to limit the weight and physical size of their audio system. Meanwhile, this high-tech has trickled down to a wider market, offering tablet or large smartphone remote mix control even to ramen-eating bands living out of vans. Fast-forward to today, where our consoles’ digital hardware sometimes lives backstage (or onstage) controlled by a slick, efficient control surface at the FOH position. ![]() ![]() The 1990s brought digital technology, which, although in its infancy, made our lives easier in many ways. In the time of the dinosaurs, we rolled gigantic analog mixers to front of house, connected fire hose-sized snakes, tons of outboard gear and dashed back and forth over the length of the console as we mixed the show.
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