Review: LD Systems Maui 28 G3 Mix

Review: Mark Woods






Portable column systems have become popular because they’re easy to transport and operate, with a full range sound that fills a small/medium space. Aimed mainly at DJs and solo/small bands, they’re also ideal for corporate presentations or educational applications. LD Systems is the pro audio division of the German-based Adam Hall Group. The original LD Maui G2 portable column system won favour by out-performing speakers from better known audio companies, and helped establish LD as a credible pro brand.
The Maui G2 was updated in 2022 to become the Maui G3 Series, with a smaller Maui 11 G3 version and the larger Maui 28 G3. I wrote about the 28 G3 at the time of release and was impressed by the aesthetic re-design, build quality, and powerful performance, including its ability to handle high vocal peaks, especially in the low/mid region, often a weak area for portable arrays.
The LD Maui G3 28 system comprises two columns and a sub speaker. The amps and processing are inside the sub, the connections and controls are found on the back panel. Each column has a vertical array of 6 x 3.5-inch speakers and phase plugs to assist with pattern control, and to reduce sound coming from the rear of the column (another common array thing). The Maui solves this with up to 18dB reduction at the rear. The powdercoated lightweight aluminium housing feels robust, and at 12.6kg each, the columns are heavier than average. Part of that is strong build, plus ferrite magnets for the 12 mid drivers, the tweeters use lighter neodymium magnets.
START FROM THE TOP
The top column also has 2 x one-inch tweeters, mounted on a waveguide, above the 6 x 3.5-inch mid speakers. The columns slot together, and into the top of the sub, to form a stack 2025mm high. This puts the tweeters over people’s heads and should leave enough mid speakers in the clear be heard if it’s a packed house. Line array technique is used to control the dispersion pattern, quoted as a slice-shaped 120° horizontal x 30° vertical.
The ported bass reflex sub has a 15mm birchwood cabinet loaded with a single 12-inch driver, the 1030W RMS (2060W peak) power amp, crossovers and processing that includes delay. It weighs in at 23.5kg – an in-between weight (LD has provided a handle on top for solo performers in good physical shape, as well as side handles for a helpers/bandmates to share the load if they’re around). Max volume is quoted at 127dB SPL Peak and frequency response 37Hz – 20kHz (-10dB). That’s a high weight-to-output ratio.
A single sub’s dispersion is close to omni-directional but if a second Maui sub is used, placed besides the first and turned around to face backwards, the combined dispersion becomes cardioid with a switch in the software, greatly reducing the amount of low frequencies behind the speakers and on the stage.






NEED TO KNOW
LD Systems Maui 28 G3 Mix
Portable PA






PRICE
A$2999
US$1999



CONTACT
Link Audio: linkaudio.com.au



PROS

Integrated mixer
Sounds better than most
Good components/build quality
Rear rejection



CONS

Effects aren’t amazing



SUMMARY
The LD Maui 28 G3 system is competitively priced and offers good value with its flexibility, features and performance. The new Mix version makes Maui more attractive for performers, especially, as they can control, balance and enhance their sound with a phone app rather than needing an external mixer.



MIX MINUS NO LONGER
All the LD Maui 28 G3 was missing was a mixer – inputs were limited to a pair of XLR sockets wanting line level, not even a mic/line switch, so you really had to drive it from some sort of mixer. No more. The new Maui 28 G3 Mix version integrates a six-channel digital mixer into the design and transforms a capable speaker system into an all-in-one live sound solution. Located on the rear of the sub cabinet the mixer section can be controlled manually or remotely via the LD Maui Mix app. Input connections include 4 XLR combo sockets – Inputs 1/2 switch between Mic, Line and Hi-Z options, Inputs 3/4 operate as Mic or Line ins, either stereo or mono. Inputs 5/6 are Bluetooth only.
This setup is great for performers with a couple of vocals and instruments who play along with Bluetooth tracks, and that’s a lot of the intended customers, but it’s not many inputs for a band. If you are a band and want a stereo system, then you can join two Maui G3 Mix systems together and connect them via the SysLink output socket. This doubles the numbers of input channels.













Outputs are an important addition to the Maui G3 Mix: two XLR sockets feed two separate stage monitors…or the performers IEMs, I don’t think its very polite to have them in for that sized show but if they must, the technical facility is there. The Monitor Outs can also be switched to output the Main mix, making a handy record out. Another single XLR feeds the Main mix to another speaker, or mono IEMs.






















Once the system is set up, its probably going to be awkward to access the mixer behind the sub, on the floor… better to control remotely with the Maui Mix app. The mixer, and app, can be operated in Easy or Expert modes, a common idea to simplify operations for newbies. Easy mode offers a fixed-frequency three-band EQ section, a handful of presets and a one-knob compressor. But it doesn’t turn on 48V (or have a phase inverter or HPF) so those newbs are going to have to navigate to Expert Mode to power their active DI or condenser vocal mic. They may as well stay there, the five-band parametric EQ is much better and not hard to grasp. There’s also a Gate on each channel, and comprehensive control of the Compressor and Effects.
MAUI: TAKE IT EASY
In use, the Maui 28 G3 is easy to like. No complaints travelling, it will fit in a small car with room for instruments. To my ear, column systems do their best work with music playback and small/medium-sized DJ gigs. You can use two stacks, and that enables stereo, but one will fill a small room. I used a single Maui G3 28 Mix with a DJ in a room with about 100 people and it was just right. The Limit light was flashing on peaks, the system sounded great with a full low end and a strong midrange that’s not harsh or overly bitey in the high/mids. The tweeters are a nice shiny touch.



I used a single Maui G3 28 Mix with a DJ in a room with about 100 people and it was just right









A Sunday afternoon outdoor performance by Castlemaine’s own Matt Colin (pictured above) was an ideal setting for the Maui 28 G3 Mix system. Set up is simple, there’s no system leads, just power and inputs, so its neat. Matt could have performed in front of the column, they don’t feed back readily and it’s a big sound coming from behind, but he enjoyed the Maui slightly off to his side and used a Monitor Out to connect a wedge as a front monitor. The on-board effects sound okay, with several different types of common effect on hand, with good control over the main parameters in Expert mode.
Out front the combination of high power, good quality drivers and the phase plugs deliver a sound that is coherent and even across the listening area. Compared to a point-source system, the Maui’s array projects the sound energy in a narrow vertical plane, so it throws wider and further. Maximum volume is easy to find but there’s enough output for most acts, the limit light illuminates well before you hear the DynX DSP holding it back.
STICK WITH IT
The LD Maui 28 G3 system is competitively priced and offers good value with its flexibility, features and performance. The new Mix version makes Maui more attractive for performers, especially, as they can control, balance and enhance their sound with a phone app rather than needing an external mixer. The two monitor outs enable separate monitoring and free the performer from needing to be in front of the system to hear themselves.
Quality parts and solid design should make the Maui 28 G3 Mix reliable. They come with a two-year factory warranty.




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