CTA Review: Digital Audio Labs Livemix Pt. 3

 So I thought I could do this in one more post. But it turns out there is just so much to say about this cool little system that I had to break it up into two more so they don’t become too long. Today, we’ll consider how it really works. What makes this product different from the rest? Next time, we’ll wrap up with the final set of features and a bottom line. 

Remote Mixing

Select the mixer you want to work on, and you now have full access to the mix on another mixer. 

Select the mixer you want to work on, and you now have full access to the mix on another mixer. 

One of my favorite features of the Roland M-48 system is the ability to put a mixer at FOH then select any mixer on stage and hear that mix. We can even make changes if a musician is struggling with getting set up properly. Livemix takes this concept a step further allowing any mixer to control any other mixer on stage. By selecting Mirror Mix, you can listen to and adjust any mixer in the system. This would be great for a FOH engineer to help out a musician, but there are other advantages. Say you have one musician who is really good at putting together a mix. He or she could be a resource to anyone on stage with a simple button press. Or the worship leader could help a vocalist or player who can’t quite get it dialed in right. This is a cool feature with lots of possibilities. 

Share the Aux

I’m sure this has happened on your stage. The band is trying to figure out a song and they need to hear the recording. Most times, one of our singers will hold a mic to their iPhone and play it back. It’s horrible and I’ve tried to tell them we can play it from FOH, but it’s easier for them to do it this way. With the Livemix, anyone can plug a phone into the Aux In jack, then share it to the network. A separate volume control on each mixer gives the musicians individual control over how loud the aux channel is. This is another cool feature.

Built-In Ambient Mic & Intercom

Most personal mixers these days come with an ambient mic. And while they’re not great, they do give at least some sense of ambience on stage. Personally, I don’t find our folks using them much as we have house mic’s piped back into the system for ambience, and they sound much better. Still, if you don’t have that, a small mic on the mixer is better than nothing. 

Most times, our team would turn the ambience mic up only when others were speaking during rehearsal. This saves them from having to pull their ears out. Livemix obviously understood that and added an intercom function to the system. Press and hold the A or B mix button and it routes the ambient mic to everyone’s intercom channel (with a separate volume control, ‘natch). I tried this out and while not as good as say a handheld mic, it’s certainly very usable. 

More Me

Sometimes when a musician is playing along, they just need to turn themselves up a little bit, and rather quickly. The Me knob makes it easy. You can assign any of the 24 channels to the Me group and the Me knob will act as a master control for those channels. So a worship leader who plays guitar can have both his vocal and guitar in the Me group and quickly get more me. Of course, you could also use this for any other source or groups of sources that would need regular, easy adjustments, the click for example.

Speaking of Groups

You can create up to four additional groups after the Me group. You could use these for simple things like tying together two stereo channels of a keyboard, or grouping all the drums together. When you adjust the level of one member of the group, all are adjusted. You still have individual control of each channel, however, so you’re not stuck with that mix forever.

OK, we’ll call it there for today. Next time around, the rest of the cool features and a wrap up.

“Gear

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