Apple's hot-selling mobile devices—the iPhone, iPad and iPod touch—are fueling a revolution in the way we do just about everything that is touched by technology. Audio for worship is certainly no exception. Welcome to the dawn of the iMixing era.
All three of the aforementioned devices share the same basic iOS operating system, which means that if you know how to work on one you know how to work on them all. And working on them—or is it playing with them?—is very easy indeed. Within minutes, even computer neophytes can navigate through sophisticated apps by tapping, swiping, dragging and pinching on the color touchscreen. With hundreds of AV-related apps available, Apple's ubiquitous devices are close to becoming the church tech's “universal control interface.”
Audio console makers have jumped on the bandwagon big time. As of this writing, 10 companies have announced at least one mixing-related app, with six ready for download now in Apple's App Store. A couple more should be ready by the time you read this, and all are promised by late 2012.
In this overview, we'll look first at apps available now for digital consoles, then at coming apps for digital, and finally a couple for mostly analog “hybrid” mixers. All the now-available and promised apps are free except as noted. It's a clever marketing tool, because with most you can try out the features in offline “dummy” mode, although of course you have to buy the mixer for it to actually accomplish anything. Most are designed exclusively for the larger surface of the iPad, with only two compatible with the smaller iPhone and iPod Touch screens.
So, are these apps just a passing fad, or are they future of audio mixing? More than any other single group, we church audio techs will be making that call.
READY TO GO
Allen & Heath's MixPad was among the first full-fledged control apps to hit the market, linking an iPad to the company's highly successful iLive series of digital mixers. Like most iPad apps for digital consoles, it requires that you first connect a WiFi access point to the console's Ethernet port, but once that's done you're ready for wireless control anywhere in the room. MixPad allows access to all features and functions you'd need to use “on the fly,” including input channels (with preamp gain), FX sends, aux and matrix sends, full signal metering, channel processing, DCA and mix assignments, graphic and parametric EQs, and delays. It also lets you create custom strips for a personalized channel layout, but for the sake of simplicity and sanity, it doesn't include set-up functions that you'd do at the console anyway, such as input and output patching, scene and show memory, and other system configuration tasks. The MixPad offline version is free, but the full version is $100. It's worth the money for all it does, but I wouldn't be surprised if competitive pressures bring that price down a bit.
The Mixtender from Midas connects to all the company's digital console line, from the Pro2 up through the flagship XL8. The app automatically detects the console type that is connected via, again, a WiFi router connected to the Ethernet port. Features include monitoring of all inputs and outputs simultaneously in real time, control of speaker outputs with graphic EQs (for tuning out in the house), input faders, mutes, and VCA groups. Multiple iPads (up to 16 tested) can be connected to control aux outs for monitor mixes, including control of mix control association (MCA) groups. Once again, set-up functions that don't benefit from remote tweaking—such as dynamics and parametric EQ setup—are not included to keep the interface clean and focused. The Pro2 includes a nifty iPad shelf, but there's no direct docking to any of the mixers.
BIG APP, SMALL APP
From the get-go, StudioLive mixers from PreSonus have been married to an external computer running recording and control software, so extending into iOS apps was a logical transition. Here again, the iOS devices connect via WiFi, although in this case the access point connects to the associated computer's Ethernet port, not directly to the mixer. The sophisticated SL Live Remote app for iPad offers multiple views, including an overview with levels, mutes, panning, EQ curves and Fat Channel processing for multiple channels simultaneously. Other accessible features include graphic EQ, channel naming, effects muting, and tap tempo on delays.
A separate app from PreSonus called QMix (“cue mix”) is dedicated to controlling aux mixes for stage monitoring applications, and this app is scaled to the smaller screens of the iPhone and iPod Touch. It allows naming of the aux mix in the device along with control of levels, panning, and tap tempo for delay effects. Multiple devices can access the mixer simultaneously, with the number of aux mixes dependent on mixer model (up to 10 on the 24.4.2). Permissions can be set in the computer to limit access of each device only to its associated mix. A clever “Wheel of Me” view has a virtual thumbwheel for instantly re-balancing one selected channel (usually user's vocal) in relation to the rest of the mix.
All of Soundcraft's Vi and Si Compact series digital consoles have offered Ethernet-based control from the outset, so it was a quick step to connect the access point and develop an iPad app—here called appropriately ViSi Remote. Features include auto-detect of the console model, control of main, aux and matrix mixes, and graphic EQ control on each output bus. Channel and bus names are imported from Vi Series boards, multiple iPads can control auxes for monitoring, and one iPad can control several consoles connected to the same network. The app supports Soundcraft's FaderGlow feature, which keys faders by color depending on application (main, aux, FX).
The StageMix app from Yamaha allows comprehensive iPad control of CL Series, M7CL and LS9 digital consoles, although in this case three separate versions are required to match internal architecture peculiar to each type. But the comprehensive feature sets are essentially the same, including control of all basic channel strip parameters (with parametric EQ), mix masters, aux sends on faders, DCA faders, graphic EQs, tap temp, channel name and color, and scene memory recall. Metering is provided for input channels, mix buses, and EQ in/out. The CL3 and CL5 have a convenient iPad “stay” space when you want to use it as an outboard touchscreen controller at FOH.
COMING ‘ROUND THE BEND
The following apps were not in the App Store as of early July, but you might take a peek when you finish reading. Two are not slated until later in the year, but a couple may show up by August.
Behringer's X32 entry-level digital mixer is not expected to ship until early autumn, but the associated XRapp (X32 Remote app) for iPad may appear earlier. It links via a WiFi access point connected to the console's Ethernet port, and up to 10 iPads can be accommodated with reasonable performance. Initial releases will likely be limited to remote control of channel input levels, aux sends and mix masters, but plans are in the works for quick updates that will add preamp settings, EQ, and comprehensive monitoring features. Full implementation will also include access to the X32's USB drive recording functions.
The futuristic StageScape M20d mixer from Line 6 already has a dedicated, colorful and graphics-rich touchscreen on the unit, so the only requirement here was to essentially port the displays and functions over the iPad. Essentially, that's what you get in the StageScape Remote. Linked by an optional USB-to-WiFi adapter (no Ethernet here), StageScape Remote operates as though it were the main mixer's own touchscreen interface. The obvious advantage here is that there is no adapting to a different interface, so the learning curve is practically zero. The iPad remote also offers access to StageScape's built-in multi-track recording to USB drive or SD card.
NOTHING BUT IPAD
If iPad mixing is the future, Mackie is there now with the much buzzed-about DL 1608 digital mixer. Sensing a trend, Mackie decided to cut to the chase and make an iPad—for all practical purposes—the entire user interface. In this case, it's easier to list what the Master Fader iPad app does NOT do: input gain and headphone volume. Everything else in the 16-input mixer's extensive feature set is controlled via the iPad touchscreen. The DL 1608 also has dual connections to the iPad: a built-in dock on the mixer and an Ethernet port for connecting an off-the-shelf WiFi router. The dock frame wisely locks the iPad to the unit, and inserts are available for adapting to differently sized iPad versions (the DL 1608 works with all). Transition from docked to wireless operation is seamless, with no interruption in audio. Mackie stresses that all audio processing is via the DL 1608's own powerful DSP; the iPad is strictly for control.
Wrapping up for the digital domain is a forthcoming app for controlling Roland's new flagship console, the M-480. Unveiled in a beta version at the Infocomm show in June, the as-yet unnamed app will make an easy plug-and-play connection to the M-480 via Roland's own optional USB to wireless access point. Announced feature sets, somewhat generic at this point, include adjustment of mixing parameters, scene storage, editing of channel strips, control of output graphic EQ, and aux sends on faders. Following Roland's unique “package approach” concept, the M-480 network connection and iPad remote will integrate with other Roland audio devices and musical instruments.
ANALOG ADD-ONS
Without question, only all-digital mixers can exploit the full potential of iMixing. Nevertheless, a couple mostly analog mixers have just enough digital inside to accommodate limited but useful iOS apps.
Available now, MGP Editor from Yamaha accesses key digital features of the otherwise analog MP12X and MGP16X analog consoles. With a limited number of simultaneous controls needed, this app scales down to the iPhone and iPod Touch and has room to spare on the iPad. The graphic display enables more detailed control of the on-board Rev-X and SPX effects parameters, and it also controls the leveling, priority ducking and attenuation on the two hybrid input channels. Here the connection is via the standard Apple i-device connector cord to the console's top panel USB port.
Finally, coming later in the year from Alto Professional is the Live Drive app for the MasterLink Live 16 and 24 channel analog consoles. Here the iPad is docked to the console in a secure frame and provides augmented effects, display and optimizing features for the output section only. Included are a real-time analyzer (with dedicated mic input), compressor, 12-band parametric equalizer, programmable SPL meter, adjustable crossover, and user presets for EQ and effects.
That's it so far, but mixing-related apps seem to be popping up like mushrooms on a soggy lawn. Will Apple's iOS platform become the common foundation of all future audio mixers? Or is it just a passing fad? Well, frankly, that's largely up to us to decide. See ya in the App Store!
