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Zoom LiveTrak L-20R 20-channel Remote-controlled Digital Mixer / Recorder

Name: Zoom LiveTrak L-20R 20-channel Remote-controlled Digital Mixer / Recorder
Brand: Zoom
Rating: 4 (18 reviews)

20-channel Rackmount Digital Mixer with 24-bit/96kHz 22-track Recorder, 6 Monitor Outputs, 3-band EQ, 20 Built-in Effects, 22-in/4-out USB Audio Interface, and Remote Operation - macOS/Windows/iOS

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Item ID: L20R

Zoom LiveTrak L-20R 20-channel Remote-controlled Digital Mixer / Recorder

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Portable and Powerful — This Mixer Does It All

Whether you want to capture a rehearsal, produce a quick demo, or create a great-sounding concert recording, Zoom’s LiveTrak L20R makes it easy. It enables you to record up to 22 individual channels directly to an SD card, supplies you with custom headphone mixes for up to six band members, and delivers a polished live mix — complete with studio-quality effects. With the L20R, you can finish your entire project in-the-box or transfer all 20 discrete tracks to your DAW for editing and mixing. Beyond that, you can use the L20R as a rock-solid 22-in/4-out USB audio interface for your Mac, PC, or iOS device. What’s more, the LiveTrak L20R boasts compatibility with Zoom’s Remote Mixer app, allowing an FOH engineer and six musicians to take command of their own mix via iPad.

Note: iPad required for operation. Compatible with all iPad Air models, iPad Mini 2 and later, iPad Pro, and iPad (2017), running iOS 10.3.3 or newer.

Craft professional-quality live mixes

The LiveTrak L20R makes crafting pro-quality live mixes easy. Each of its 20 discrete channels features a 3-band mid-parametric EQ and 20 built-in effects. Sixteen combo jacks accommodate both XLR and 1/4" connectors and are loaded with great-sounding mic preamps and dedicated compressors. Channels 1–2 offer hi-Z inputs for your electric guitar or bass, while channels 17/18 and 19/20 have TRS and RCA connectivity for keyboards and other audio devices. You also get clear 12-segment LED metering for keeping an eye on your levels.

Produce great-sounding recordings

Recording your entire band has never been simpler, thanks to the Zoom LiveTrak L20R. Twenty-two individual tracks are conveniently captured onto an SD card at 24-bit/96kHz. You can then mix and overdub directly within the L20R using its onboard effects or transfer the entire project to your DAW for further editing and processing. If you're performing live, you can record and mix your show simultaneously. At Sweetwater, we found that the L20R makes recording incredibly fast and easy.

Create six custom headphone mixes

With the LiveTrak L20R, you don't need separate personal monitor mixers — the monitoring is built in. Each of its six discrete monitor outputs provides a custom mix, so each member of your band can create and save their own. The L20R's headphone amplifier delivers lots of volume — even drummers won't have a difficult time hearing.

More than a mere digital mixer

The Zoom LiveTrak L20R is equipped with several operation modes. Put it in Audio Interface mode and the L20R transforms into a 22-in/4-out USB interface for your Mac, PC, or iOS device with flexible routing options. In USB Host mode, you can transfer projects and files to a connected USB flash drive. Card Reader mode allows you to transfer files to and from your computer.

Take command from your iPad

The LiveTrak L20R enables the FOH engineer and six musicians to take command of their own mix via the Remote Mixer app for iPad. With simple gestures, you can adjust fader levels, EQ settings, channel effects, and more — from anywhere in the venue.

Zoom LiveTrak L20R Features:

20-channel rackmount digital mixer (16 mono/2 stereo)
22-in/4-out USB audio interface for your Mac, PC, or iOS device (Apple Lightning-to-USB Camera Adapter is required for iOS)
22-track 24-bit/96kHz recording directly to an SD card
Record up to 48kHz to a computer and an SD card simultaneously
Create customizable, savable headphone mixes for up to 6 band members
Complete your entire project on the mixer, or transfer all 22 discrete tracks to your DAW for editing and mixing
16 combo jacks accommodate both XLR and 1/4" connectors
16 great-sounding mic preamps with phantom power and +60dB of gain
Channels 1–2 offer hi-Z inputs for your electric guitar or bass
Channels 17/18 and 19/20 have TRS and RCA connectivity for keyboards and other audio devices
Each channel features a 3-band mid-parametric EQ and 20 built-in effects
Channels 1–16 include a dedicated compressor for controlling dynamics
Channels 3–16 have a -26dB pad for capturing loud sources
Clear 12-segment LED metering for keeping an eye on your levels
Save up to 9 scenes and recall your custom settings automatically
FOH engineer and 6 musicians can take command of their own mix via the Remote Mixer app for iPad

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Tech Specs

Type: Rackmount Digital Mixer
Channels: 20 (16 x mono, 2 x stereo)
Inputs - Mic Preamps: 2 x XLR-1/4" combo (mic/line/Hi-Z), 14 x XLR-1/4" combo (mic/line)
Phantom Power: 16 channels
Inputs - Line: 2 x Dual RCA Stereo (line), 4 x 1/4" (2 x stereo line)
Outputs - Main: 2 x XLR (master)
Aux Sends: 6 x 1/4" (monitor out A-F)
USB: 1 x Type B, 1 x Type A
Bluetooth: BTA-1 Adapter (included)
Computer Connectivity: USB (22 x 4)
Headphones: 1 x 1/4"
EQ Bands: 3-band EQ, Low Cut
Effects: 20 x Effects; Reverb, Delay, Chorus
Signal Processing: Compression
Transport Controls: Yes
Software: Remote Mixer app, L-20 Control iPad app
Rackmountable: Yes (rack ears included)
Height: 5.97"
Depth: 6.22"
Width: 17.24"
Weight: 5.4 lbs.
Manufacturer Part Number: ZL20R

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Reviews

3.8

Customer Photos & Videos

I currently use the A&H Qu-PAC in a monitor mixing rig and have also used the Qu-SB. Though I like the Qu-PAC, I've wanted something lighter and more streamlined, as my split/monitor rack is presently 66 lbs. The A&H units are far more capable than the Zoom L20R. However, the price increases on those units over the past few years have left a nice market opportunity for Zoom in the sub-$1000 range. The L20R embodies the "minimum viable product" concept and you save a lot because of it.

Key L20R limitations vs. the Qu-PAC:

- Channel gains can not be remotely controlled. If you want to make an adjustment that affects all mixes (main and six monitor mixes) at the same time, you need to use the physical knob for that channel. You can not do it from the iPad. This is an issue if your band members don't provide consistent levels show-to-show and a player is also the main monitor mix person. Someone will need to adjust the physical gain knob, or, -every- player will need to adjust their mix separately to deal with the guitarist who can't leave his knobs alone between shows.
- No mix control from the front panel. It takes some button pressing on the A&H Qu-PAC, but in a pinch (e.g., dead iPad), you could do it.
- iPad control ONLY. A&H provides the Qu-YOU app for iPhone, iPad, and Android, allowing low-cost control with cheap tablets.
- No subgroups or effects on groups. Forget compressing background vocals together, for instance.
- No scene naming
- No separate talkback channel
- Monitor mixes are not really independent. Pans are global with the master mix. (I reverse stereo pans in Qu-PAC monitor mixes, for instance, since I am facing the opposite direction of the audience.)
- No digital snake expandability
- No auto mic mixing (AMM)

Neutral vs. the Qu-PAC:

- Using Bluetooth makes some sense and avoids the need for adding a router to the Qu series, which requires players to switch WiFi networks and lose Internet, depending on the scenario, but Bluetooth range might be a problem for mixing from the audience? (Note that only one iPad connects to the mixer via Bluetooth in "Hub Mode" and six others can then connect to that "hub" iPad in "Remote mode," the latter having access only to the A-F monitor mixes, not the main mix.)
- Rear panel hookups, which I prefer to the front panel connections of the Qu-SB and some other rack units.
- Still uses 4U racked despite being lighter and smaller.
- TRS monitor outs vs. Qu-PAC's XLR. This can be adapted easily enough.

Positives vs. the Qu-PAC:

- much lighter
- much cheaper
- no need to add a router
- recording to SD card vs. external drive (Qu-PAC is very unreliable with most USB sticks)
- Easy switching from mono-balanced to stereo-unbalanced monitor mixes. This is quite slick and removes the need for custom adapters I had to build to deal with dual-XLR stereo monitor mixes on the Qu-PAC.

Negative that is universal to all of these mixers:
- No built-in splits. Since these are often used for monitor mixing, but signals may also need to go to the house, the lack of split outputs means you need to add external splitters and a lot of cables if you want this to be your monitor rig and venues large and small. That's a lot of space and weight that could be handled far, far more efficiently inside the mixer itself.

Again, overall, I'd categorize the L20R as a "minimum viable product." It doesn't do much, but what it does just might be enough, and if so, it's a really slick product. For casual shows in small venues, I think it'd be fine. If you need to mix a more professional show, though, most sound people would feel quite constrained. The mixer would probably need to be on stage, making gain and channel-specific compressor adjustment awkward, and the lack of gates, compressors, etc. would make it hard to mix like a pro.

However, if you are just splitting signals to the L-20R and to the house, with the L-20R just doing monitor mixes… I think it does just, just enough.

I am still not sure it'll be a long term solution, but kudos to Zoom for making this thing.

I built an IEM rig around the Zoom Livetrak L-20R for my five-piece cover band that gigs regularly and I can say without a doubt that it's an excellent product. We get stereo monitoring that I can control from my iPad on stage. It's a sturdy enough unit that does everything you need. Throw it in your rack box and hit the road with this thing.

Most of the criticisms of the unit revolve around the inability to control gain from the iPad, or to do unique panning and EQing for each mixer channel. But I think those reviews forgot this is an $ unit brand new, so they expect too much. Nonetheless, those issues are fairly trivial because band members rarely need such fine tuning. You can get an agreeable mix with those functions and then leave it alone.

I really like the fact that with the six separate monitoring channels (A-F) a single 1/4" TRS output for each can switch between mono (for stage wedges or mono IEM transmitters) or stereo (for stereo IEM units like we use) by simply toggling the button on the front of the unit. No need to sacrifice a monitor out to achieve it. Then, if you are running your FOH mix from the unit, your sound guy (which could be you on stage after all) can listen in on anyone's mix and make adjustments.

The iPad mixing interface is intuitive even if the sliders could provide slightly more precise adjustment when operated with your finger (a stylus solves that issue). The software is pretty efficient, so it doesn't drain much iPad battery even after a full night on. The ability to have all band members tether with their own iPads to fine tune their individual mixes from the stage is great, as well as the ability to record on the fly. The recording quality is as good as my home studio interface and exporting the files into my DAW (Ableton) could not be easier.

The gain on each channel works great, though some complain about the need to pad a bit more than with other units (but what does that matter, really? Just tap the button and adjust). Also the one knob compressor is novel and gets the job done.

I chose this over the Behringer Air and Midas because of the stereo monitoring capability which those lack. It just gives you a cleaner more natural stage mix in your ears, and that was an important selling point for me. I also think this iPad interface is simpler and laid out better than the ones for Behringer and Midas. Fight me.

Use a splitter and have one signal go to the Livetrak and one go to a snake bundle for the cranky FOH guy and you are set. If you're thinking about this product, don't think too hard. It has delivered for my band without a single hiccup. This class of units has been a real game changer for smaller outfits like mine in the last few years.

This has exceeded my expectations both live and as an interface! The only suggestion I have to make this product better is to make a iPhone app for when the iPad goes dead. I realize that is my fault for having an older iPad, but I got a mixer instead of a new iPad lol

This little mixer is great for a band that uses the same settings every time. We have them saved in and we can just set up, plug in, and do a quick double check of our sound with little tweaks. Big sweeping changes on each sound check are a thing of the past. Plus, the recording feature is great for cutting a live album. Each channel records its own track at high quality.

I'm _NOT_ a sound engineer by any stretch of the imagination, so take that for what it's worth to start with. What I needed was a relatively quiet, versatile mixer with several monitor outputs which I could control remotely. This fits the bill perfectly for me. The downside being you can't really patch in outboard effects, which probably does limit its utility for some front of house situations, but for a practice PA it's perfect. The onboard recording feature is a nice bonus as well - I haven't used it much thus far, so I can't really say much about it, but if a Luddite such as myself can get it to work, it's probably fairly intuitive for most people!