We compare products from their published specs and features; the verdicts below are our independent editorial opinions.
Updated: 2026-09-21 · 7 min read · Independent comparison
If you want a complete live-sound mixing and multitrack recording rig that you control wirelessly from an iPad, choose Gravity Mackie DL16S; if you need closed-back monitor headphones for tracking, mixing, DJ work and everyday listening, choose Audio-Technica ATH-M50x.
• Gravity Mackie DL16S — biggest strength: a 16-channel digital rack mixer that doubles as a 16-in/16-out USB 2.0 audio interface, with 16 recallable Onyx+ mic preamps, wireless iPad control and onboard FX.
• Gravity Mackie DL16S — biggest trade-off: it's a corded, rack-oriented system that assumes you bring your own iPad and are comfortable running your mix through an app rather than physical faders.
• Audio-Technica ATH-M50x — biggest strength: 45mm dynamic drivers in a closed-back, over-ear design with swiveling earcups and a foldable frame, made for isolation and one-ear monitoring.
• Audio-Technica ATH-M50x — biggest trade-off: it's wired only, with a 3.5mm jack and a screw-on 1/4-inch adapter, so there's no wireless freedom and no built-in amplification or mixing.
• Who each pick is for: the DL16S is for bands, venues, churches and engineers who mix live and record shows; the ATH-M50x is for anyone who needs reliable headphones on their ears while they do it.
The DL16S is a 16-channel digital rack mixer built around wireless control. You rack it, power it from mains, and then run the entire show from an iPad using Mackie's Master Fader app. There are no motorized faders to fight with and no bulky snake to drag across the room — the mixer can sit onstage while you walk the venue and fine-tune from the floor. That alone changes how a live engineer works, because you're hearing what the audience hears instead of guessing from behind a desk.
The I/O is genuinely generous for a rack unit. You get 16 stereo-linkable input channels, 8 fully assignable XLR outputs, 13 output buses, 6 stereo-linkable aux sends, 6 stereo-linkable subgroups, a Main L/R bus and a headphone output. The 16 Onyx+ mic preamps are recallable, which means once you've dialled in a setup you can bring it back instantly instead of rebuilding it from scratch. Four onboard FX processors with dedicated sends and returns cover the usual reverb, delay and modulation duties without extra outboard gear. And because the DL16S also works as a 16-in/16-out USB 2.0 interface, you can record the whole show and mix it properly later — or play back a multitrack for a virtual sound check before the doors open. It supports up to 20 iPads at once, so a monitor engineer and a front-of-house engineer can both work from the same box.
Who should buy it: small-to-mid touring bands, houses of worship, club and event engineers, and anyone who wants one rack unit to handle live mixing, multitrack capture and playback. Who should skip it: anyone who wants physical faders under their fingers, anyone who doesn't own an iPad or doesn't want to depend on one, and anyone who just needs headphones. This bundle also throws in a Tascam TH02 headphone, a pair of EMB XLR cables and a Gravity magnet phone holder, so you have the basic accessories to get started.
The ATH-M50x ENSO is a closed-back, over-ear studio monitor headphone. The core of it is a pair of proprietary 45mm dynamic drivers using neodymium magnets and CCAW voice coils, tuned to keep clarity across lows, mids and highs while holding a deep but controlled bass end. The stated frequency range is 15 Hz to 28 kHz. In plain terms, that's a headphone designed to translate — so what you hear when you edit, monitor or cue a track is close to what comes out the other end of the chain. If you're tracking vocals, mixing a podcast, or cueing the next song in a DJ set, that consistency matters more than any single spec.
The closed-back, over-ear fit is the practical part. It contours around the ears to reduce outside noise and limit bleed into an open mic — useful in a loud room, a rehearsal space or a live monitor situation. The earcups swivel, so you can slide one off for single-ear monitoring without taking the whole thing off, which is exactly what a DJ or a vocalist needs. Construction is aimed at long sessions: a reinforced headband and cushioned ear pads, plus a foldable frame and rotating cups for easier transport. The connection is wired, 3.5mm, with a screw-on 1/4-inch adapter for interfaces and consoles, and the bundle adds a stand, a case, a cleaner, a 15 ft 1/4-inch TRS interconnect, touch-fastener straps and a microfiber cloth.
Who should buy it: producers, engineers, DJs, vocalists and content creators who need one dependable pair of closed-back headphones for both work and casual listening. Who should skip it: anyone who wants wireless, anyone who needs active noise cancellation rather than passive sound isolation, and anyone expecting headphones to do any mixing or routing — they can't, and they aren't meant to.
• Best for mixing a live show → Gravity Mackie DL16S. 16 input channels, 13 output buses and wireless iPad control are the whole point.
• Best for recording the show and mixing it later → Gravity Mackie DL16S. The 16-in/16-out USB 2.0 interface and multitrack playback for virtual sound checks do that job directly.
• Best for accurate monitoring and cueing → Audio-Technica ATH-M50x. 45mm dynamic drivers and a closed-back over-ear fit are built for hearing balance and separation.
• Best for isolation in a loud room → Audio-Technica ATH-M50x. Passive sound isolation and reduced bleed are inherent to the closed-back design.
• Best for hands-on, walk-around control → Gravity Mackie DL16S. No snake, no fixed desk position, and up to 20 iPads can share the mixer.
• Best for portability and travel → Audio-Technica ATH-M50x. The foldable frame and rotating earcups make it easy to bag and carry.
• Best for a one-box venue setup → Gravity Mackie DL16S. Recallable preamps, onboard FX and instant recall of every setting cut setup time.
• Best for single-ear DJ and vocalist work → Audio-Technica ATH-M50x. Swiveling earcups let you monitor with one ear while staying present.
In my opinion, these two don't really compete — they solve different problems, and the honest answer is that most working engineers eventually want both. If I had to pick one, I'd buy the Gravity Mackie DL16S, because it's the piece that actually lets you run and capture a show: 16 channels, 16 recallable Onyx+ preamps, wireless iPad mixing and a 16-in/16-out USB interface in a single rack unit. That's a whole workflow, not an accessory. The ATH-M50x is the better buy only if your real need is a dependable closed-back headphone for tracking, DJing and everyday listening — and it's excellent at exactly that. Buy the DL16S to mix; buy the M50x to listen. If your budget only stretches to one right now, choose the one that matches the job you do most often this year.
Both. It's a 16-channel digital rack mixer with 16 Onyx+ mic preamps, and it also functions as a 16-in/16-out USB 2.0 audio interface, so you can mix live and record multitrack to a computer from the same unit.
Yes — wireless mixing runs through Mackie's Master Fader app on an iPad. That's the trade-off: you get walk-around control and no bulky snake, but you're dependent on a tablet rather than physical faders. Up to 20 iPads can connect at once.
No. They're wired, with a 3.5mm jack and a screw-on 1/4-inch adapter for interfaces and consoles. The bundle includes a 15 ft 1/4-inch TRS interconnect, a stand, a case, a cleaner and a microfiber cloth.
Pick based on the job. If you run live sound or need to record shows, the DL16S is the one that changes your workflow. If you need accurate closed-back monitoring for tracking, mixing, DJing or casual listening, the ATH-M50x is the right first purchase. Check the current price on Amazon before you commit.
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