DL32R streamlines setup for Trinity Central
Published: WORSHIP
WORLD: Trinity Central in Vancouver, Canada, recently made the decision to upgrade its equipment offering with a Mackie DL32R wireless mixer. The 120-strong congregation meets for weekly services at a local independent cinema. Having to set up and break down their equipment for each and every service, the church was seeking a faster alternative.
‘We bring in all our own gear rather than running through the theatre’s system,’ explained Mark Peskett, Trinity's guitarist and technical advisor. ‘We've got a good sounding PA system, and although the room isn't really designed for live sound, we've been working on optimising our system's performance.
‘We had been using the DL1608, which served us very well,’ he continued. ‘We were really excited about the DL32R and got our hands on one as soon as we possibly could.’
The new desk offers a greater level of wireless freedom over the existing mixer, but was also selected for its better audio quality and built-in DSP. ‘We're not a significantly large church but we really value the sonic integrity and production value of our meetings,’ he said. ‘The DL32R is a major step up. The preamps sound pristine, with a great sense of dynamics, clarity and air. We use compression and the EQ on essentially every channel, and use reverb and delay on vocals, the snare drum and acoustic instruments. In some instances we've used presets, but typically we're dialling them in ourselves.’
The church also produces a podcast, which has benefitted from the console’s multichannel recording capabilities. ‘It's just awesome,’ proclaimed Mr Peskett. ‘Particularly the fact that you can just plug and play without any driver installation. My DAW immediately recognises all the ins and outs, so getting set up is super easy.’
The desk was thrown in at the deep end supporting one of the church’s biggest annual events. ‘We had an over-capacity crowd of around 260, and the DL32R was amazing,’ Mr Peskett recalled. ‘We had rented extra mics and monitors and were using almost every input and output available. And even though the Master Fader 3.0 software was new to us, we were still able to pull off one of our most technically demanding services without a hitch.’