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DIGITAL AUDIO LABS Customer and Product Support

Customer Support

Welcome to our support page. Here you will find all the User Guides, Manuals, Specification Sheets, Firmware Updates and Downloads for Digital Audio Labs products. The best way to stay up to date on new products and product features is through our mailing list here.

Please let us know if you have any questions that are not answered here.

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Card Deluxe Legacy Logo Black
LaChapell Audio Tube Preamps And 500 Series Logo Black
Powershape Integrated Mixer Amplifier With DSP Logo Black
Digital Audio Labs Logo - Black
Livemix Personal Monitor System Logo - Black

FREQUENTLY ASKED QUESTIONS

500TDI

Our modules were designed to meet API’s VPR certification standards. As such, the API series of 500 series power supplies are our first recommendation. But there are others that we’ve found to be very reliable options such as the Purple Audio Sweet Ten.

This is a question that we are asked often and the answer is no. Yes there is a glowing vacuum tube in your 500 series module but it is a 9A type preamp tube. This is the same type used in the AKG C-12, Telefunken 251, etc. While these mics only have one section of the tube active, they also have less internal volume for the tube to cool and yet the surface temp of these mics never exceed room temperature. As long as you don’t block the venting that is already part of the 500 series power supply you will be just fine.

The 583S mk2, 583E and 500TDI will get warm but nothing more than any other 500 series module drawing 110-120ma. It’s never a good idea to block or cover ventilation holes that are on top covers of the 500 series power supply.

All LaChapell Audio products feature a 2 year warranty on parts and labor for issues relating to manufacturing. The tubes have a 6 month warranty. Please see the Digital Audio Labs Warranty page for more information.

The 500TDI uses a 12DW7. The first stage, driven by the INPUT knob is a 12AX7 and the OUTPUT stage is a 12AU7. The 12DW7 combines the two tube flavors into one.

Yes. The manual will provide guidelines in this regard. The 2-bay 583’s (583E and the original 583S) have square openings that are intentionally designed to allow users access to the 12AX7 and replace with other like tubes for additional flexibility. Generally speaking, it’s the input tubes (the 12AX7s or 12DW7s) that would be replaced if you are looking to alter the sound of the amplifier. The 992’s output tubes require a critical balancing step so, for that reason we don’t recommend messing with these. In any case, if there’s ever a question related to swapping out tubes PLEASE give us a call.

LaChapell Audio has been incredibly fortunate in having a great user base. We’ve had folks like Brad Paisley, Hans Zimmer, Phil Keggy, Depeche Mode and other personally choose our preamps over others for critical productions. Many studios in Nashville, LA and the rest of the world rely on LaChapell Audio to track the sound they want.

Not at all. From the beginning we set out to not only make the first tube preamp for the 500 series, but the world’s first HIGH-VOLTAGE tube preamp for the 500 series. Think of the 583 and 500TDI as having a secondary high-voltage supply within the unit. All LaChapell Audio 500-series modules with tubes feature both a full 250 volts to the plates and a full 12 volts to the filament. This is the proper way of powering a vacuum tube and, more importantly, allows the tube to behave the way it was design sonically without stress from a lack of power.

503

Our modules were designed to meet API’s VPR certification standards. As such, the API series of 500 series power supplies are our first recommendation. But there are others that we’ve found to be very reliable options such as the Purple Audio Sweet Ten.

All LaChapell Audio products feature a 2 year warranty on parts and labor for issues relating to manufacturing. The tubes have a 6 month warranty. Please see the Digital Audio Labs Warranty page for more information.

LaChapell Audio has been incredibly fortunate in having a great user base. We’ve had folks like Brad Paisley, Hans Zimmer, Phil Keggy, Depeche Mode and other personally choose our preamps over others for critical productions. Many studios in Nashville, LA and the rest of the world rely on LaChapell Audio to track the sound they want.

583E

Yes! The 583S mk2 and the 583e have been tested and approved by the VPR Alliance. 

Since the LaChapell Audio TrueTube technology current draw is within VPR limits, you can load up your entire frame with Mk2’s without issues. There’s a wide variety of power supply options in the market today. On top of that, there are several non-tube modules on the market that pull much more current than LaChapell Audio gear. As such, regardless of the module, it’s a good idea to check the user manual of the power supply you are using to make sure it has enough current capacity.

YES! This was the intention. Think of the EQ section on the 583E as its own module that can be used as if it weren’t part of the 583 preamp or, as a simple pre+EQ channel strip. Running the EQ separately is accomplished simply by flipping the toggle switch on the lower right to “Pre/EQ”. In this mode, the 583E is now two completely separate units. The EQ path is re-routed to the corresponding XLR input/output jacks on the power supply and can be used however the user wishes. When the same toggle is flipped to “Pre+EQ” the EQ path is patched to serve the preamp. Below are a few ways to apply these functions.

Scenario 1: The 583E is being used to record acoustic guitar but, you realize you need an EQ on a different preamp that’s being used for the vocal track. In this case, flip the EQ toggle to “Pre/EQ”. In this mode, you can still use the 583 preamp on acoustic guitar but the EQ section is now available to be routed to the vocal preamp.

Scenario 2: You’ve finished recording and are preparing to mix. You’re set with in-the-box EQ’s but need something more natural sounding to shape/sculpt the electric guitar track. With the 583E switched to “Pre/EQ” you can patch into the EQ section’s XLR input/output jacks for this task.
Scenario 3: You’re using the 583E to amplify the microphone used to record a violin. You love the mic/preamp combo but would like to nudge a little more low-mids before recording. Flipping the EQ toggle to “Pre+EQ” auto patches the EQ to serve the preamp in this way. In this mode the 583E is functioning as a channel strip.

Our modules were designed to meet API’s VPR certification standards. As such, the API series of 500 series power supplies are our first recommendation. But there are others that we’ve found to be very reliable options such as the Purple Audio Sweet Ten.

This is a question that we are asked often and the answer is no. Yes there is a glowing vacuum tube in your 500 series module but it is a 9A type preamp tube. This is the same type used in the AKG C-12, Telefunken 251, etc. While these mics only have one section of the tube active, they also have less internal volume for the tube to cool and yet the surface temp of these mics never exceed room temperature. As long as you don’t block the venting that is already part of the 500 series power supply you will be just fine.

The 583S mk2, 583E and 500TDI will get warm but nothing more than any other 500 series module drawing 110-120ma. It’s never a good idea to block or cover ventilation holes that are on top covers of the 500 series power supply.

Yes. But we recommend using the -20 db pad or be comfortable with only rotating the input knob to about 9 o’clock max. With high output mics it is a good idea to start with the input knob at 9 o’clock and the use the output control to achieve line level. From there you can play with coloration and harmonics. Be aware that with high output mics, the preamp is already starting with a very large signal. It is not going to require much INPUT gain to generate harmonics and even distortion. But, then again, that might be what you’re after!

All LaChapell Audio products feature a 2 year warranty on parts and labor for issues relating to manufacturing. The tubes have a 6 month warranty. Please see the Digital Audio Labs Warranty page for more information.

The 583 and 983 are the same preamplifier and use one 12AX7 per channel.

TIP: When selecting different tubes for different sounds, use the -20 pad technique mentioned earlier. Engaging the pad and using Input gain to compensate will feature the 12AX7’s character and allow you to hear the differences between tubes much more than if the input transformer was part of the signal.

Yes. The manual will provide guidelines in this regard. The 2-bay 583’s (583E and the original 583S) have square openings that are intentionally designed to allow users access to the 12AX7 and replace with other like tubes for additional flexibility. Generally speaking, it’s the input tubes (the 12AX7s or 12DW7s) that would be replaced if you are looking to alter the sound of the amplifier. The 992’s output tubes require a critical balancing step so, for that reason we don’t recommend messing with these. In any case, if there’s ever a question related to swapping out tubes PLEASE give us a call.

LaChapell Audio has been incredibly fortunate in having a great user base. We’ve had folks like Brad Paisley, Hans Zimmer, Phil Keggy, Depeche Mode and other personally choose our preamps over others for critical productions. Many studios in Nashville, LA and the rest of the world rely on LaChapell Audio to track the sound they want.

Not at all. From the beginning we set out to not only make the first tube preamp for the 500 series, but the world’s first HIGH-VOLTAGE tube preamp for the 500 series. Think of the 583 and 500TDI as having a secondary high-voltage supply within the unit. All LaChapell Audio 500-series modules with tubes feature both a full 250 volts to the plates and a full 12 volts to the filament. This is the proper way of powering a vacuum tube and, more importantly, allows the tube to behave the way it was design sonically without stress from a lack of power.

The 983 & 583 preamps currently use the Cinemag CMMI-10PCA microphone input transformer and a Jensen JT-11-DM line output transformer. The Hi-Z input on the 983/583 amps is transformer-less.

First, it provides for the basic need to attenuate the input signal for “hot” or loud sources. For example, there are some microphones out there that generate such a large signal that a pad is required in order to prevent unwanted distortion.

The second reason is for sonic shaping. All LaChapell Audio preamps place the -20dB pad function in such a way that, when engaged, the gain contribution from the input transformer is effectively eliminated. When that loss of gain is made up by dialing in INPUT gain, the user has essentially traded transformer gain with vacuum tube gain. As a result, the distortion is different, the frequency response is different, etc. User who use this this technique express hearing more “air” and “depth” to the sound. It’s not always preferred but it demonstrates the preamps sonic flexibility. A couple areas where this technique is routinely used are drum overheads and stereo piano overheads.

583S

Yes! The 583S mk2 and the 583e have been tested and approved by the VPR Alliance. 

Since the LaChapell Audio TrueTube technology current draw is within VPR limits, you can load up your entire frame with Mk2’s without issues. There’s a wide variety of power supply options in the market today. On top of that, there are several non-tube modules on the market that pull much more current than LaChapell Audio gear. As such, regardless of the module, it’s a good idea to check the user manual of the power supply you are using to make sure it has enough current capacity.

Our modules were designed to meet API’s VPR certification standards. As such, the API series of 500 series power supplies are our first recommendation. But there are others that we’ve found to be very reliable options such as the Purple Audio Sweet Ten.

This is a question that we are asked often and the answer is no. Yes there is a glowing vacuum tube in your 500 series module but it is a 9A type preamp tube. This is the same type used in the AKG C-12, Telefunken 251, etc. While these mics only have one section of the tube active, they also have less internal volume for the tube to cool and yet the surface temp of these mics never exceed room temperature. As long as you don’t block the venting that is already part of the 500 series power supply you will be just fine.

The 583S mk2, 583E and 500TDI will get warm but nothing more than any other 500 series module drawing 110-120ma. It’s never a good idea to block or cover ventilation holes that are on top covers of the 500 series power supply.

Yes. But we recommend using the -20 db pad or be comfortable with only rotating the input knob to about 9 o’clock max. With high output mics it is a good idea to start with the input knob at 9 o’clock and the use the output control to achieve line level. From there you can play with coloration and harmonics. Be aware that with high output mics, the preamp is already starting with a very large signal. It is not going to require much INPUT gain to generate harmonics and even distortion. But, then again, that might be what you’re after!

All LaChapell Audio products feature a 2 year warranty on parts and labor for issues relating to manufacturing. The tubes have a 6 month warranty. Please see the Digital Audio Labs Warranty page for more information.

The 583 and 983 are the same preamplifier and use one 12AX7 per channel.

TIP: When selecting different tubes for different sounds, use the -20 pad technique mentioned earlier. Engaging the pad and using Input gain to compensate will feature the 12AX7’s character and allow you to hear the differences between tubes much more than if the input transformer was part of the signal.

Yes. The manual will provide guidelines in this regard. The 2-bay 583’s (583E and the original 583S) have square openings that are intentionally designed to allow users access to the 12AX7 and replace with other like tubes for additional flexibility. Generally speaking, it’s the input tubes (the 12AX7s or 12DW7s) that would be replaced if you are looking to alter the sound of the amplifier. The 992’s output tubes require a critical balancing step so, for that reason we don’t recommend messing with these. In any case, if there’s ever a question related to swapping out tubes PLEASE give us a call.

LaChapell Audio has been incredibly fortunate in having a great user base. We’ve had folks like Brad Paisley, Hans Zimmer, Phil Keggy, Depeche Mode and other personally choose our preamps over others for critical productions. Many studios in Nashville, LA and the rest of the world rely on LaChapell Audio to track the sound they want.

Not at all. From the beginning we set out to not only make the first tube preamp for the 500 series, but the world’s first HIGH-VOLTAGE tube preamp for the 500 series. Think of the 583 and 500TDI as having a secondary high-voltage supply within the unit. All LaChapell Audio 500-series modules with tubes feature both a full 250 volts to the plates and a full 12 volts to the filament. This is the proper way of powering a vacuum tube and, more importantly, allows the tube to behave the way it was design sonically without stress from a lack of power.

The 983 & 583 preamps currently use the Cinemag CMMI-10PCA microphone input transformer and a Jensen JT-11-DM line output transformer. The Hi-Z input on the 983/583 amps is transformer-less.

First, it provides for the basic need to attenuate the input signal for “hot” or loud sources. For example, there are some microphones out there that generate such a large signal that a pad is required in order to prevent unwanted distortion.

The second reason is for sonic shaping. All LaChapell Audio preamps place the -20dB pad function in such a way that, when engaged, the gain contribution from the input transformer is effectively eliminated. When that loss of gain is made up by dialing in INPUT gain, the user has essentially traded transformer gain with vacuum tube gain. As a result, the distortion is different, the frequency response is different, etc. User who use this this technique express hearing more “air” and “depth” to the sound. It’s not always preferred but it demonstrates the preamps sonic flexibility. A couple areas where this technique is routinely used are drum overheads and stereo piano overheads.

983S

Extra venting isn’t required but it is recommended, especially in warmer environments such as outside venues in the sun.

Yes. But we recommend using the -20 db pad or be comfortable with only rotating the input knob to about 9 o’clock max. With high output mics it is a good idea to start with the input knob at 9 o’clock and the use the output control to achieve line level. From there you can play with coloration and harmonics. Be aware that with high output mics, the preamp is already starting with a very large signal. It is not going to require much INPUT gain to generate harmonics and even distortion. But, then again, that might be what you’re after!

All LaChapell Audio products feature a 2 year warranty on parts and labor for issues relating to manufacturing. The tubes have a 6 month warranty. Please see the Digital Audio Labs Warranty page for more information.

The 583 and 983 are the same preamplifier and use one 12AX7 per channel.

TIP: When selecting different tubes for different sounds, use the -20 pad technique mentioned earlier. Engaging the pad and using Input gain to compensate will feature the 12AX7’s character and allow you to hear the differences between tubes much more than if the input transformer was part of the signal.

Yes. The manual will provide guidelines in this regard. The 2-bay 583’s (583E and the original 583S) have square openings that are intentionally designed to allow users access to the 12AX7 and replace with other like tubes for additional flexibility. Generally speaking, it’s the input tubes (the 12AX7s or 12DW7s) that would be replaced if you are looking to alter the sound of the amplifier. The 992’s output tubes require a critical balancing step so, for that reason we don’t recommend messing with these. In any case, if there’s ever a question related to swapping out tubes PLEASE give us a call.

LaChapell Audio has been incredibly fortunate in having a great user base. We’ve had folks like Brad Paisley, Hans Zimmer, Phil Keggy, Depeche Mode and other personally choose our preamps over others for critical productions. Many studios in Nashville, LA and the rest of the world rely on LaChapell Audio to track the sound they want.

The 983 & 583 preamps currently use the Cinemag CMMI-10PCA microphone input transformer and a Jensen JT-11-DM line output transformer. The Hi-Z input on the 983/583 amps is transformer-less.

First, it provides for the basic need to attenuate the input signal for “hot” or loud sources. For example, there are some microphones out there that generate such a large signal that a pad is required in order to prevent unwanted distortion.

The second reason is for sonic shaping. All LaChapell Audio preamps place the -20dB pad function in such a way that, when engaged, the gain contribution from the input transformer is effectively eliminated. When that loss of gain is made up by dialing in INPUT gain, the user has essentially traded transformer gain with vacuum tube gain. As a result, the distortion is different, the frequency response is different, etc. User who use this this technique express hearing more “air” and “depth” to the sound. It’s not always preferred but it demonstrates the preamps sonic flexibility. A couple areas where this technique is routinely used are drum overheads and stereo piano overheads.

992EG

Extra venting isn’t required but it is recommended, especially in warmer environments such as outside venues in the sun.

The 992EG will get warm. Eight vacuum tubes WILL generate heat. For this reason we recommend leaving a single rack space empty above the 992. It’s never a good idea to block or cover ventilation holes that are on top covers of the 992EG.

Yes. But we recommend using the -20 db pad or be comfortable with only rotating the input knob to about 9 o’clock max. With high output mics it is a good idea to start with the input knob at 9 o’clock and the use the output control to achieve line level. From there you can play with coloration and harmonics. Be aware that with high output mics, the preamp is already starting with a very large signal. It is not going to require much INPUT gain to generate harmonics and even distortion. But, then again, that might be what you’re after!

All LaChapell Audio products feature a 2 year warranty on parts and labor for issues relating to manufacturing. The tubes have a 6 month warranty. Please see the Digital Audio Labs Warranty page for more information.

The 992EG features (4) 12AX7’s and (4) 5814’s. The 5814 tube is a ruggedized version of the 12AU7. The 12AX7’s are the tubes that provide the most gain and are driven with the INPUT control.

Yes. The manual will provide guidelines in this regard. The 2-bay 583’s (583E and the original 583S) have square openings that are intentionally designed to allow users access to the 12AX7 and replace with other like tubes for additional flexibility. Generally speaking, it’s the input tubes (the 12AX7s or 12DW7s) that would be replaced if you are looking to alter the sound of the amplifier. The 992’s output tubes require a critical balancing step so, for that reason we don’t recommend messing with these. In any case, if there’s ever a question related to swapping out tubes PLEASE give us a call.

LaChapell Audio has been incredibly fortunate in having a great user base. We’ve had folks like Brad Paisley, Hans Zimmer, Phil Keggy, Depeche Mode and other personally choose our preamps over others for critical productions. Many studios in Nashville, LA and the rest of the world rely on LaChapell Audio to track the sound they want.

The 992 currently uses the Jensen 115k microphone input transformer and a Jensen JT-11-BMCF line output transformer. We also use the Cinemag CM-DBX for the Hi-Z input stage.

First, it provides for the basic need to attenuate the input signal for “hot” or loud sources. For example, there are some microphones out there that generate such a large signal that a pad is required in order to prevent unwanted distortion.

The second reason is for sonic shaping. All LaChapell Audio preamps place the -20dB pad function in such a way that, when engaged, the gain contribution from the input transformer is effectively eliminated. When that loss of gain is made up by dialing in INPUT gain, the user has essentially traded transformer gain with vacuum tube gain. As a result, the distortion is different, the frequency response is different, etc. User who use this this technique express hearing more “air” and “depth” to the sound. It’s not always preferred but it demonstrates the preamps sonic flexibility. A couple areas where this technique is routinely used are drum overheads and stereo piano overheads.

LaChapell Audio preamps are unique in how they provide gain control to the user. Our Dual Drive knobs provide separate INPUT and OUTPUT gain controls for increased sonic flexibility. This is key to LaChapell Audio’s reputation of being so versatile. In short, the INPUT gain control is where you can dial in harmonic color. The OUTPUT control drives the very clean, natural sounding output stage. The contrast isn’t extreme, but discovering the perfect balance between these controls for whatever might be connected to the preamp is what makes LaChapell Audio preamps so much fun to use.

AD24

The AD-24 can take your input signal via TRS or DB-25. The inputs are pass-through, so you can send your audio to the AD- 24 via DB-25, and back out through the TRS if required.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

Shielded cable is required for connecting both the AD-24 and the DA-816 to the MIX-16 or MIX-32. Shielded cable is not required for connecting a CS-SOLO or CS-DUO to the MIX-16/32 or connecting the LM-DANTE card to the Dante network. However, shielded is recommended.

Cables

Each MIX-16/MIX-32 Control Surface port supports a maximum combined CAT5e (shielded recommended) cable distance of 100 meters.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

Shielded cable is required for connecting both the AD-24 and the DA-816 to the MIX-16 or MIX-32. Shielded cable is not required for connecting a CS-SOLO or CS-DUO to the MIX-16/32 or connecting the LM-DANTE card to the Dante network. However, shielded is recommended.

CSDUO

Both the CS-SOLO and the CS-DUO receive power over the ethernet cables.

Because Livemix was designed to be volunteer friendly and easy to use, setting up effects for each channel can be done globally from one personal mixer. Setting up EQ and compression on 24 channels for every person on stage would be a nightmare (with the MIX-32 that would be 768 channels). With global effects, each channel can be optimized to fit in a mix perfectly so that each performer just needs to adjust volume and pan.

At this time, the reverb feature is applied to the Master Output and cannot be removed from a specific channel.

Livemix has 5 groups, one of which is controlled with the Me Knob.

Livemix supports up to 24 input channels and provides 4 additional accessory channels (Ambient Mic, Intercom, Aux Input, and Metronome).

The CS-DUO has the abiblity to link both the A and B Mixes. Select the A mix, PRESS and HOLD both Master Volume knobs at the same time. Confirm that you want to group the controls. At this point both sets of control knobs will control the mix. Repeat these steps to unlink the mixes.

To remove the passcode, PRESS the ME Knob for three seconds on any screen that prompts you to enter the passcode. After three seconds, release the ME Knob and PRESS and hold it for three seconds more. The passcode removal screen will appear. SELECT Yes to reboot the system, removing passcode protection.

Yes you can, and it it incredible simple. Select the channel within the group that you wish to adjust. A white border will outline the channel to indicate it is selected. LONG PRESS the ADJUST knob to temporarily remove the channel from the group. The white outline of the selected channel will flash while the channel is temporarily out of the goup.  Use the ADJUST knob to adjust the volume of the channel and press the ADJUST knob to return the channel to the group.

Livemix is able to choose up to 24 channels from all any of the available channels on the Dante network.

You cannot subgroup channels in the Livemix system. This will need to happen at the console as a sub group (DCA) and then sent to Livemix.

While Livemix Data is transmitted over standard network cables, it is not in a format that a network can read. DO NOT use splitters, couplers, or hubs between any CS-SOLO or CS-DUO and the MIX-16/MIX-32. DO NOT connect a CS-SOLO or CS-DUO into an ethernet network. This could cause damage to the personal mixer and will void the warranty.

While Livemix Data is transmitted over standard network cables, it is not in a format that a network can read. DO NOT use splitters, couplers, or hubs between any CS-SOLO or CS-DUO and the MIX-16/MIX-32. DO NOT connect a CS-SOLO or CS-DUO into an ethernet network. This could cause damage to the personal mixer and will void the warranty.

Livemix is designed to work with a large variety of impedances. It can drive standard in-ear monitor impedances (generally 11Ω to 75Ω) up to 300Ω headphones.

The Auxiliary input is designed for an amplified signal such as what is output from a smartphone headphone output. In order to use a microphone with the Aux input, it would need to be used with a microphone preamplifier before the signal gets to the Livemix Aux in.

Livemix auto saves settings and mixes to a temparary location every 2 minutes. If you make an adjustment and power down without saving before it has a chance to auto save, you will loose your changes. It is recommended to always save a mix or global template when changes are made.

Each MIX-16/MIX-32 Control Surface port supports a maximum combined CAT5e (shielded recommended) cable distance of 100 meters.

Shielded cable is required for connecting both the AD-24 and the DA-816 to the MIX-16 or MIX-32. Shielded cable is not required for connecting a CS-SOLO or CS-DUO to the MIX-16/32 or connecting the LM-DANTE card to the Dante network. However, shielded is recommended.

Livemix has 5 groups, one of which is controlled with the Me Knob. Using this feature, you can group two channels (Stereo Keys, Guitar, Tracks) but because it only groups the volume, you can still have the ability to use the full stereo field.

At this time any single Livemix channel is a mono channel.  However, the flexibility and ease of group assinging makes it easy to group stereo sources. This means you get true stereo panning, and since Livemix has 24 channels, you can have 4 stereo groups and still have another 16 channels for mixing.

Through many years of working with worship teams, volunteers, and live bands, we have found that most musicians are not used to mixing multiple channels. We designed Livemix with this in mind. Additionally, it is much easier to offer help to another performer (or use MirrorMix®) when the channels are in the same locations from personal mixer to personal mixer.

You can connect two CS-SOLO units to a single port on the MIX-16 or MIX-32. The first mixer is the blue “A MIX” while the second unit will be the red “B MIX”. Power and audio is supplied to the second CS-SOLO over a network cable connected to the CS-SOLO THRU port. The CS-DUO must be connected directly to the MIX-16 or MIX-32.

CSSOLO

Both the CS-SOLO and the CS-DUO receive power over the ethernet cables.

Because Livemix was designed to be volunteer friendly and easy to use, setting up effects for each channel can be done globally from one personal mixer. Setting up EQ and compression on 24 channels for every person on stage would be a nightmare (with the MIX-32 that would be 768 channels). With global effects, each channel can be optimized to fit in a mix perfectly so that each performer just needs to adjust volume and pan.

At this time, the reverb feature is applied to the Master Output and cannot be removed from a specific channel.

Livemix has 5 groups, one of which is controlled with the Me Knob.

Livemix supports up to 24 input channels and provides 4 additional accessory channels (Ambient Mic, Intercom, Aux Input, and Metronome).

The CS-DUO has the abiblity to link both the A and B Mixes. Select the A mix, PRESS and HOLD both Master Volume knobs at the same time. Confirm that you want to group the controls. At this point both sets of control knobs will control the mix. Repeat these steps to unlink the mixes.

To remove the passcode, PRESS the ME Knob for three seconds on any screen that prompts you to enter the passcode. After three seconds, release the ME Knob and PRESS and hold it for three seconds more. The passcode removal screen will appear. SELECT Yes to reboot the system, removing passcode protection.

Yes you can, and it it incredible simple. Select the channel within the group that you wish to adjust. A white border will outline the channel to indicate it is selected. LONG PRESS the ADJUST knob to temporarily remove the channel from the group. The white outline of the selected channel will flash while the channel is temporarily out of the goup.  Use the ADJUST knob to adjust the volume of the channel and press the ADJUST knob to return the channel to the group.

Livemix is able to choose up to 24 channels from all any of the available channels on the Dante network.

You cannot subgroup channels in the Livemix system. This will need to happen at the console as a sub group (DCA) and then sent to Livemix.

While Livemix Data is transmitted over standard network cables, it is not in a format that a network can read. DO NOT use splitters, couplers, or hubs between any CS-SOLO or CS-DUO and the MIX-16/MIX-32. DO NOT connect a CS-SOLO or CS-DUO into an ethernet network. This could cause damage to the personal mixer and will void the warranty.

While Livemix Data is transmitted over standard network cables, it is not in a format that a network can read. DO NOT use splitters, couplers, or hubs between any CS-SOLO or CS-DUO and the MIX-16/MIX-32. DO NOT connect a CS-SOLO or CS-DUO into an ethernet network. This could cause damage to the personal mixer and will void the warranty.

Livemix is designed to work with a large variety of impedances. It can drive standard in-ear monitor impedances (generally 11Ω to 75Ω) up to 300Ω headphones.

The Auxiliary input is designed for an amplified signal such as what is output from a smartphone headphone output. In order to use a microphone with the Aux input, it would need to be used with a microphone preamplifier before the signal gets to the Livemix Aux in.

Livemix auto saves settings and mixes to a temparary location every 2 minutes. If you make an adjustment and power down without saving before it has a chance to auto save, you will loose your changes. It is recommended to always save a mix or global template when changes are made.

Each MIX-16/MIX-32 Control Surface port supports a maximum combined CAT5e (shielded recommended) cable distance of 100 meters.

Shielded cable is required for connecting both the AD-24 and the DA-816 to the MIX-16 or MIX-32. Shielded cable is not required for connecting a CS-SOLO or CS-DUO to the MIX-16/32 or connecting the LM-DANTE card to the Dante network. However, shielded is recommended.

Livemix has 5 groups, one of which is controlled with the Me Knob. Using this feature, you can group two channels (Stereo Keys, Guitar, Tracks) but because it only groups the volume, you can still have the ability to use the full stereo field.

At this time any single Livemix channel is a mono channel.  However, the flexibility and ease of group assinging makes it easy to group stereo sources. This means you get true stereo panning, and since Livemix has 24 channels, you can have 4 stereo groups and still have another 16 channels for mixing.

Through many years of working with worship teams, volunteers, and live bands, we have found that most musicians are not used to mixing multiple channels. We designed Livemix with this in mind. Additionally, it is much easier to offer help to another performer (or use MirrorMix®) when the channels are in the same locations from personal mixer to personal mixer.

You can connect two CS-SOLO units to a single port on the MIX-16 or MIX-32. The first mixer is the blue “A MIX” while the second unit will be the red “B MIX”. Power and audio is supplied to the second CS-SOLO over a network cable connected to the CS-SOLO THRU port. The CS-DUO must be connected directly to the MIX-16 or MIX-32.

DA816

With feedback from our end users and dealers, we are continually making Livemix better with firmware updates. These USB ports are used for updating the firmware.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

Shielded cable is required for connecting both the AD-24 and the DA-816 to the MIX-16 or MIX-32. Shielded cable is not required for connecting a CS-SOLO or CS-DUO to the MIX-16/32 or connecting the LM-DANTE card to the Dante network. However, shielded is recommended.

DANTEEXP

Dante Controller is not needed for setting up Livemix on the Dante Network. However, you will need to use Dante Controller to set the Master Clock for the Dante Network. See the LM-DANTE User Guide pg. 8 for assigning Dante Channels.

AES67 is an interoperability protocol that promises the ability to share digital audio from non-compatible networks. As the AES67 standard is not fully implemented at this time, AES67 is not yet supported.

A switch is not required for a Dante Network. You can connect the LM-DANTE card directly to the Dante output of the console. It is recommended that if you use a switch, you adhere to the Audinate requirements for a switch.

 

We recommend to make the Master clock the console or Dante card in the console. NOTE: There are two ways this can be done. 1) Set the console’s internal clock as Master, then using Dante Controller, set the console’s Dante card as Master clock (for the Dante Network) and also check box “Sync to External”. This will allow the card to stay sync’d to the console’s master clock. 2) Set the console’s internal clock to be slave of the console’s Dante card. Using Dante controller, set the console’s Dante card as Master clock.

You will need to select Sync to External if your console’s clock is not set to slave. Or if you are using any other clock source. i.e Madi, AES50 etc.

LaChapell Audio

Yes! The 583S mk2 and the 583e have been tested and approved by the VPR Alliance. 

Since the LaChapell Audio TrueTube technology current draw is within VPR limits, you can load up your entire frame with Mk2’s without issues. There’s a wide variety of power supply options in the market today. On top of that, there are several non-tube modules on the market that pull much more current than LaChapell Audio gear. As such, regardless of the module, it’s a good idea to check the user manual of the power supply you are using to make sure it has enough current capacity.

YES! This was the intention. Think of the EQ section on the 583E as its own module that can be used as if it weren’t part of the 583 preamp or, as a simple pre+EQ channel strip. Running the EQ separately is accomplished simply by flipping the toggle switch on the lower right to “Pre/EQ”. In this mode, the 583E is now two completely separate units. The EQ path is re-routed to the corresponding XLR input/output jacks on the power supply and can be used however the user wishes. When the same toggle is flipped to “Pre+EQ” the EQ path is patched to serve the preamp. Below are a few ways to apply these functions.

Scenario 1: The 583E is being used to record acoustic guitar but, you realize you need an EQ on a different preamp that’s being used for the vocal track. In this case, flip the EQ toggle to “Pre/EQ”. In this mode, you can still use the 583 preamp on acoustic guitar but the EQ section is now available to be routed to the vocal preamp.

Scenario 2: You’ve finished recording and are preparing to mix. You’re set with in-the-box EQ’s but need something more natural sounding to shape/sculpt the electric guitar track. With the 583E switched to “Pre/EQ” you can patch into the EQ section’s XLR input/output jacks for this task.
Scenario 3: You’re using the 583E to amplify the microphone used to record a violin. You love the mic/preamp combo but would like to nudge a little more low-mids before recording. Flipping the EQ toggle to “Pre+EQ” auto patches the EQ to serve the preamp in this way. In this mode the 583E is functioning as a channel strip.

Our modules were designed to meet API’s VPR certification standards. As such, the API series of 500 series power supplies are our first recommendation. But there are others that we’ve found to be very reliable options such as the Purple Audio Sweet Ten.

This is a question that we are asked often and the answer is no. Yes there is a glowing vacuum tube in your 500 series module but it is a 9A type preamp tube. This is the same type used in the AKG C-12, Telefunken 251, etc. While these mics only have one section of the tube active, they also have less internal volume for the tube to cool and yet the surface temp of these mics never exceed room temperature. As long as you don’t block the venting that is already part of the 500 series power supply you will be just fine.

Extra venting isn’t required but it is recommended, especially in warmer environments such as outside venues in the sun.

The 583S mk2, 583E and 500TDI will get warm but nothing more than any other 500 series module drawing 110-120ma. It’s never a good idea to block or cover ventilation holes that are on top covers of the 500 series power supply.

The 992EG will get warm. Eight vacuum tubes WILL generate heat. For this reason we recommend leaving a single rack space empty above the 992. It’s never a good idea to block or cover ventilation holes that are on top covers of the 992EG.

Yes. But we recommend using the -20 db pad or be comfortable with only rotating the input knob to about 9 o’clock max. With high output mics it is a good idea to start with the input knob at 9 o’clock and the use the output control to achieve line level. From there you can play with coloration and harmonics. Be aware that with high output mics, the preamp is already starting with a very large signal. It is not going to require much INPUT gain to generate harmonics and even distortion. But, then again, that might be what you’re after!

All LaChapell Audio products feature a 2 year warranty on parts and labor for issues relating to manufacturing. The tubes have a 6 month warranty. Please see the Digital Audio Labs Warranty page for more information.

The 500TDI uses a 12DW7. The first stage, driven by the INPUT knob is a 12AX7 and the OUTPUT stage is a 12AU7. The 12DW7 combines the two tube flavors into one.

The 583 and 983 are the same preamplifier and use one 12AX7 per channel.

TIP: When selecting different tubes for different sounds, use the -20 pad technique mentioned earlier. Engaging the pad and using Input gain to compensate will feature the 12AX7’s character and allow you to hear the differences between tubes much more than if the input transformer was part of the signal.

The 992EG features (4) 12AX7’s and (4) 5814’s. The 5814 tube is a ruggedized version of the 12AU7. The 12AX7’s are the tubes that provide the most gain and are driven with the INPUT control.

Yes. The manual will provide guidelines in this regard. The 2-bay 583’s (583E and the original 583S) have square openings that are intentionally designed to allow users access to the 12AX7 and replace with other like tubes for additional flexibility. Generally speaking, it’s the input tubes (the 12AX7s or 12DW7s) that would be replaced if you are looking to alter the sound of the amplifier. The 992’s output tubes require a critical balancing step so, for that reason we don’t recommend messing with these. In any case, if there’s ever a question related to swapping out tubes PLEASE give us a call.

LaChapell Audio has been incredibly fortunate in having a great user base. We’ve had folks like Brad Paisley, Hans Zimmer, Phil Keggy, Depeche Mode and other personally choose our preamps over others for critical productions. Many studios in Nashville, LA and the rest of the world rely on LaChapell Audio to track the sound they want.

Not at all. From the beginning we set out to not only make the first tube preamp for the 500 series, but the world’s first HIGH-VOLTAGE tube preamp for the 500 series. Think of the 583 and 500TDI as having a secondary high-voltage supply within the unit. All LaChapell Audio 500-series modules with tubes feature both a full 250 volts to the plates and a full 12 volts to the filament. This is the proper way of powering a vacuum tube and, more importantly, allows the tube to behave the way it was design sonically without stress from a lack of power.

The 992 currently uses the Jensen 115k microphone input transformer and a Jensen JT-11-BMCF line output transformer. We also use the Cinemag CM-DBX for the Hi-Z input stage.

The 983 & 583 preamps currently use the Cinemag CMMI-10PCA microphone input transformer and a Jensen JT-11-DM line output transformer. The Hi-Z input on the 983/583 amps is transformer-less.

First, it provides for the basic need to attenuate the input signal for “hot” or loud sources. For example, there are some microphones out there that generate such a large signal that a pad is required in order to prevent unwanted distortion.

The second reason is for sonic shaping. All LaChapell Audio preamps place the -20dB pad function in such a way that, when engaged, the gain contribution from the input transformer is effectively eliminated. When that loss of gain is made up by dialing in INPUT gain, the user has essentially traded transformer gain with vacuum tube gain. As a result, the distortion is different, the frequency response is different, etc. User who use this this technique express hearing more “air” and “depth” to the sound. It’s not always preferred but it demonstrates the preamps sonic flexibility. A couple areas where this technique is routinely used are drum overheads and stereo piano overheads.

LaChapell Audio preamps are unique in how they provide gain control to the user. Our Dual Drive knobs provide separate INPUT and OUTPUT gain controls for increased sonic flexibility. This is key to LaChapell Audio’s reputation of being so versatile. In short, the INPUT gain control is where you can dial in harmonic color. The OUTPUT control drives the very clean, natural sounding output stage. The contrast isn’t extreme, but discovering the perfect balance between these controls for whatever might be connected to the preamp is what makes LaChapell Audio preamps so much fun to use.

Livemix

With feedback from our end users and dealers, we are continually making Livemix better with firmware updates. These USB ports are used for updating the firmware.

We recommend placing the MIX-16 or MIX-32 near the stage. This will maximize the cable lengths for each personal mixer.

Both the CS-SOLO and the CS-DUO receive power over the ethernet cables.

Because Livemix was designed to be volunteer friendly and easy to use, setting up effects for each channel can be done globally from one personal mixer. Setting up EQ and compression on 24 channels for every person on stage would be a nightmare (with the MIX-32 that would be 768 channels). With global effects, each channel can be optimized to fit in a mix perfectly so that each performer just needs to adjust volume and pan.

At this time, the reverb feature is applied to the Master Output and cannot be removed from a specific channel.

Livemix has 5 groups, one of which is controlled with the Me Knob.

Livemix supports up to 24 input channels and provides 4 additional accessory channels (Ambient Mic, Intercom, Aux Input, and Metronome).

The MIX-16 supports 16 personal mixes but has up to 24 channels.

The MIX-32 supports 32 personal mixes and up to 24 channels.

Livemix has a passcode feature for protecting certain settings. The passcode protects one or both of the Global Effects (channel EQ, Dynamics and HPF) and/or Global Configuration (all global features including Global Templates).

The CS-DUO has the abiblity to link both the A and B Mixes. Select the A mix, PRESS and HOLD both Master Volume knobs at the same time. Confirm that you want to group the controls. At this point both sets of control knobs will control the mix. Repeat these steps to unlink the mixes.

Livemix has a passcode feature for protecting certain settings. The passcode protects Global Effects (channel EQ, Dynamics and HPF) and/or Global Configuration (all Global features including Global Templates).

To remove the passcode, PRESS the ME Knob for three seconds on any screen that prompts you to enter the passcode. After three seconds, release the ME Knob and PRESS and hold it for three seconds more. The passcode removal screen will appear. SELECT Yes to reboot the system, removing passcode protection.

Yes you can, and it it incredible simple. Select the channel within the group that you wish to adjust. A white border will outline the channel to indicate it is selected. LONG PRESS the ADJUST knob to temporarily remove the channel from the group. The white outline of the selected channel will flash while the channel is temporarily out of the goup.  Use the ADJUST knob to adjust the volume of the channel and press the ADJUST knob to return the channel to the group.

Livemix is able to choose up to 24 channels from all any of the available channels on the Dante network.

Livemix works with either analog or gigital (Dante) input. With the AD-24 analog input unit you can connect TRS or DB25 connectors from your console or recording interface. For a Digital connection with Dante, plug directly into a switch. For other digital formats (MADI), you may need a format converter.

You cannot subgroup channels in the Livemix system. This will need to happen at the console as a sub group (DCA) and then sent to Livemix.

Dante Controller is not needed for setting up Livemix on the Dante Network. However, you will need to use Dante Controller to set the Master Clock for the Dante Network. See the LM-DANTE User Guide pg. 8 for assigning Dante Channels.

AES67 is an interoperability protocol that promises the ability to share digital audio from non-compatible networks. As the AES67 standard is not fully implemented at this time, AES67 is not yet supported.

Livemix operated at 24-Bit digital mixing and processing.

The Livemix system latency is a maximum of 1.5 ms.

The AD-24 can take your input signal via TRS or DB-25. The inputs are pass-through, so you can send your audio to the AD- 24 via DB-25, and back out through the TRS if required.

While Livemix Data is transmitted over standard network cables, it is not in a format that a network can read. DO NOT use splitters, couplers, or hubs between any CS-SOLO or CS-DUO and the MIX-16/MIX-32. DO NOT connect a CS-SOLO or CS-DUO into an ethernet network. This could cause damage to the personal mixer and will void the warranty.

A switch is not required for a Dante Network. You can connect the LM-DANTE card directly to the Dante output of the console. It is recommended that if you use a switch, you adhere to the Audinate requirements for a switch.

 

While Livemix Data is transmitted over standard network cables, it is not in a format that a network can read. DO NOT use splitters, couplers, or hubs between any CS-SOLO or CS-DUO and the MIX-16/MIX-32. DO NOT connect a CS-SOLO or CS-DUO into an ethernet network. This could cause damage to the personal mixer and will void the warranty.

Digital Audio Labs has been in the audio industry for over 30 years, starting with high end sound cards in the 80’s and a full DAW system in the mid 90’s. Everyone on the Livemix design team has had extensive experience in studios, on worship teams or Front of House and Livemix is a result of that experience combined with our expertise in DSP, mixing, and amplification.

Livemix is designed to work with a large variety of impedances. It can drive standard in-ear monitor impedances (generally 11Ω to 75Ω) up to 300Ω headphones.

The Auxiliary input is designed for an amplified signal such as what is output from a smartphone headphone output. In order to use a microphone with the Aux input, it would need to be used with a microphone preamplifier before the signal gets to the Livemix Aux in.

The Livemix CS-DUO is two personal mixers in one. With two mixers per unit, you can reduce stage clutter and your overall per node cost without sacrificing quality or functionality. 

Using MirrorMix Remote Mixing is as easy as selecting the person you want to share with or audition, then choosing from a few options from pushing settings to remotely adjusting a mix.

Livemix auto saves settings and mixes to a temparary location every 2 minutes. If you make an adjustment and power down without saving before it has a chance to auto save, you will loose your changes. It is recommended to always save a mix or global template when changes are made.

Each MIX-16/MIX-32 Control Surface port supports a maximum combined CAT5e (shielded recommended) cable distance of 100 meters.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

Shielded cable is required for connecting both the AD-24 and the DA-816 to the MIX-16 or MIX-32. Shielded cable is not required for connecting a CS-SOLO or CS-DUO to the MIX-16/32 or connecting the LM-DANTE card to the Dante network. However, shielded is recommended.

We recommend to make the Master clock the console or Dante card in the console. NOTE: There are two ways this can be done. 1) Set the console’s internal clock as Master, then using Dante Controller, set the console’s Dante card as Master clock (for the Dante Network) and also check box “Sync to External”. This will allow the card to stay sync’d to the console’s master clock. 2) Set the console’s internal clock to be slave of the console’s Dante card. Using Dante controller, set the console’s Dante card as Master clock.

You will need to select Sync to External if your console’s clock is not set to slave. Or if you are using any other clock source. i.e Madi, AES50 etc.

48kHz has long been the standard for network audio, offering the combination of the most compatibility, fidelity and throughput.

Livemix has 5 groups, one of which is controlled with the Me Knob. Using this feature, you can group two channels (Stereo Keys, Guitar, Tracks) but because it only groups the volume, you can still have the ability to use the full stereo field.

At this time any single Livemix channel is a mono channel.  However, the flexibility and ease of group assinging makes it easy to group stereo sources. This means you get true stereo panning, and since Livemix has 24 channels, you can have 4 stereo groups and still have another 16 channels for mixing.

Through many years of working with worship teams, volunteers, and live bands, we have found that most musicians are not used to mixing multiple channels. We designed Livemix with this in mind. Additionally, it is much easier to offer help to another performer (or use MirrorMix®) when the channels are in the same locations from personal mixer to personal mixer.

You can connect two CS-SOLO units to a single port on the MIX-16 or MIX-32. The first mixer is the blue “A MIX” while the second unit will be the red “B MIX”. Power and audio is supplied to the second CS-SOLO over a network cable connected to the CS-SOLO THRU port. The CS-DUO must be connected directly to the MIX-16 or MIX-32.

MIX16

With feedback from our end users and dealers, we are continually making Livemix better with firmware updates. These USB ports are used for updating the firmware.

We recommend placing the MIX-16 or MIX-32 near the stage. This will maximize the cable lengths for each personal mixer.

Livemix supports up to 24 input channels and provides 4 additional accessory channels (Ambient Mic, Intercom, Aux Input, and Metronome).

The MIX-16 supports 16 personal mixes but has up to 24 channels.

Livemix has a passcode feature for protecting certain settings. The passcode protects one or both of the Global Effects (channel EQ, Dynamics and HPF) and/or Global Configuration (all global features including Global Templates).

Livemix has a passcode feature for protecting certain settings. The passcode protects Global Effects (channel EQ, Dynamics and HPF) and/or Global Configuration (all Global features including Global Templates).

Livemix is able to choose up to 24 channels from all any of the available channels on the Dante network.

Livemix works with either analog or gigital (Dante) input. With the AD-24 analog input unit you can connect TRS or DB25 connectors from your console or recording interface. For a Digital connection with Dante, plug directly into a switch. For other digital formats (MADI), you may need a format converter.

Dante Controller is not needed for setting up Livemix on the Dante Network. However, you will need to use Dante Controller to set the Master Clock for the Dante Network. See the LM-DANTE User Guide pg. 8 for assigning Dante Channels.

AES67 is an interoperability protocol that promises the ability to share digital audio from non-compatible networks. As the AES67 standard is not fully implemented at this time, AES67 is not yet supported.

Livemix operated at 24-Bit digital mixing and processing.

The Livemix system latency is a maximum of 1.5 ms.

Each MIX-16/MIX-32 Control Surface port supports a maximum combined CAT5e (shielded recommended) cable distance of 100 meters.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

Shielded cable is required for connecting both the AD-24 and the DA-816 to the MIX-16 or MIX-32. Shielded cable is not required for connecting a CS-SOLO or CS-DUO to the MIX-16/32 or connecting the LM-DANTE card to the Dante network. However, shielded is recommended.

We recommend to make the Master clock the console or Dante card in the console. NOTE: There are two ways this can be done. 1) Set the console’s internal clock as Master, then using Dante Controller, set the console’s Dante card as Master clock (for the Dante Network) and also check box “Sync to External”. This will allow the card to stay sync’d to the console’s master clock. 2) Set the console’s internal clock to be slave of the console’s Dante card. Using Dante controller, set the console’s Dante card as Master clock.

You will need to select Sync to External if your console’s clock is not set to slave. Or if you are using any other clock source. i.e Madi, AES50 etc.

48kHz has long been the standard for network audio, offering the combination of the most compatibility, fidelity and throughput.

MIX32

With feedback from our end users and dealers, we are continually making Livemix better with firmware updates. These USB ports are used for updating the firmware.

We recommend placing the MIX-16 or MIX-32 near the stage. This will maximize the cable lengths for each personal mixer.

Livemix supports up to 24 input channels and provides 4 additional accessory channels (Ambient Mic, Intercom, Aux Input, and Metronome).

The MIX-32 supports 32 personal mixes and up to 24 channels.

Livemix has a passcode feature for protecting certain settings. The passcode protects one or both of the Global Effects (channel EQ, Dynamics and HPF) and/or Global Configuration (all global features including Global Templates).

Livemix has a passcode feature for protecting certain settings. The passcode protects Global Effects (channel EQ, Dynamics and HPF) and/or Global Configuration (all Global features including Global Templates).

Livemix is able to choose up to 24 channels from all any of the available channels on the Dante network.

Livemix works with either analog or gigital (Dante) input. With the AD-24 analog input unit you can connect TRS or DB25 connectors from your console or recording interface. For a Digital connection with Dante, plug directly into a switch. For other digital formats (MADI), you may need a format converter.

Dante Controller is not needed for setting up Livemix on the Dante Network. However, you will need to use Dante Controller to set the Master Clock for the Dante Network. See the LM-DANTE User Guide pg. 8 for assigning Dante Channels.

AES67 is an interoperability protocol that promises the ability to share digital audio from non-compatible networks. As the AES67 standard is not fully implemented at this time, AES67 is not yet supported.

Livemix operated at 24-Bit digital mixing and processing.

The Livemix system latency is a maximum of 1.5 ms.

Each MIX-16/MIX-32 Control Surface port supports a maximum combined CAT5e (shielded recommended) cable distance of 100 meters.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

The maximum supported CAT5e (shielded required) cable distance of 100 meters.

Shielded cable is required for connecting both the AD-24 and the DA-816 to the MIX-16 or MIX-32. Shielded cable is not required for connecting a CS-SOLO or CS-DUO to the MIX-16/32 or connecting the LM-DANTE card to the Dante network. However, shielded is recommended.

We recommend to make the Master clock the console or Dante card in the console. NOTE: There are two ways this can be done. 1) Set the console’s internal clock as Master, then using Dante Controller, set the console’s Dante card as Master clock (for the Dante Network) and also check box “Sync to External”. This will allow the card to stay sync’d to the console’s master clock. 2) Set the console’s internal clock to be slave of the console’s Dante card. Using Dante controller, set the console’s Dante card as Master clock.

You will need to select Sync to External if your console’s clock is not set to slave. Or if you are using any other clock source. i.e Madi, AES50 etc.

48kHz has long been the standard for network audio, offering the combination of the most compatibility, fidelity and throughput.

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