Allen&Heath iLive T112 + iDR48 Click to related product
Introduction
iLive is a state of the art system of components providing a uniquely flexible solution dedicated to live sound mixing and associated applications. It separates the mix engine from the control surface, putting the audio and the DSP where it is needed - near the stage.
Main Features:
iLive is a state of the art system of components providing a uniquely flexible solution dedicated to live sound mixing and associated applications. It separates the mix engine from the control surface, putting the audio and the DSP where it is needed - near the stage.
Main Features:
- Larger fixed format Surface
- Same control as top of the range, modular iLive-112
- 28 faders – 3 banks, 4 layers = 112 control strips
- 16 in, 12 out audio
- In = 8x TRS line, 4x phono, 2x SPDIF
- Out = 8x TRS line, 2x phono, 1x SPDIF, monitor TRS
- TB mic can be patched to talkback or channels
- ACE™ Surface link (audio and control over single CAT5)
- Built in 2 port Ethernet switch
- MIDI port
You can link systems for FOH/ monitor/ broadcast/ recording distribution, store your settings to memory and transfer these via USB key. Firmware and show files are compatible throughout the range making it easy to transfer settings between any iLive combination.
iLive saves valuable space and set up time, is very quick to learn and easy to drive whether you prefer familiar analogue style control or a more graphical screen interface… and it sounds great! With a host of remote control and audio networking options, and no fewer than 6 MixRacks and 7 Surface models to choose from according to your application, space and budget, the possibilities are endless.
With its many models and options providing solutions across a wide range of applications and budgets there is just one system to learn. All iLive models run the same firmware and share the same data file format. The iLive Editor software works with all models. All MixRacks feature the same 64x32 RackExtra DSP engine and provide full processing. The user interface is quick to learn and the same across all models.
So many possibilities… one powerful platform… one system to learn…
Shows can be configured offline or online and transferred to any system via USB key. Memories are compatible with all iLive hardware and can be created and transferred between any combination of MixRacks, Surfaces and laptop. You can even transfer just current settings or selected Scenes from within a Show file via a filter, ideal for festival mixing where you do not want guest files overwriting system patching and master settings.
The MixRack is controlled via a standard Ethernet connection, typically from the Surface using a CAT5 cable. Other remote control options include MIDI and the Allen & Heath PL Series remote wall plates, GPIO and controllers. Audio including headphones, talkback and local I/O is provided at the Surface using a digital ‘snake’ from the MixRack. An additional Port B option allows further audio networking providing a digital mic split between systems, channel expansion and audio distribution to recorders and other devices. Industry standards currently supported include EtherSound, MADI, ADAT and Aviom™ and Dante™. The proprietary Allen & Heath ACE™ link provides an affordable, multi-channel, bi-directional audio and control connection over a single CAT5 cable up to 120m (400’), ideal for linking the Surface to the MixRack, or linking between systems.
With so many digital networking solutions available, bulky and expensive multicore snakes and mic splitter panels are a thing of the past.
One of the most exciting aspects of iLive is its ability to configure the system offline before the show, check and edit show files from guest engineers, and control the mix live using one or more PC or MAC laptops or touch tablets running iLive Editor, software dedicated to live mixing. Using standard TCP/IP Ethernet you can connect wired or wireless via a wifi router over a stand alone or DHCP network.
The laptop can be used at the same time as or instead of the Surface providing a compact alternative for discrete mixing, and the ability to carry out different tasks at the same time. For example, you could dial in monitors on stage using your wireless laptop while your colleague runs the FOH sound check from the Surface. Custom strips let you create a ‘virtual surface’ layout on the laptop different to that of the physical Surface, letting each engineer work the way they prefer.
Wireless tablet mixing - freedom to mix on the move, space saving, quick to set up and get out…
The iLive Surface provides instant access to all live mixing functions using physical controls and indicators as well as a touch screen providing a user interface that is intuitive and quick to learn for engineers familiar with traditional analogue mixing, and also those who have grown up with digital mixing but want simple graphical control without scrolling through pages of menus and tiny detail.
Illuminated controls and a large, colourful virtual ‘write-on’ strip provide instant visual reference letting you focus on the performance rather than the interface. You can even ‘design’ your own mixer by freely assigning input channels, mix masters, DCAs and engineers Wedge/IEM masters across the Surface to suit your application and the way you prefer to work.
It takes just a few minutes to show a guest engineer how to mix using iLive.
Fader control strips
2 or 3 banks of faders to let you logically arrange your layout. Each bank has 4 layers to access a huge number of channels and masters, up to 176 on the iLive-176. Even the tiny rack mount iLive-R72 can handle a 48 channel mix with plenty of masters, FX and DCAs. Assign any combination of channels and masters to the strips. Each strip gives you a motorised fader, mute, PAFL, processing select, mix select, rotary for pan or gain, LCD display and meter with multi-point peak indication.
Virtual ‘write-on’ strip
User assignable names and colours are displayed for each channel or master in its strip LCD. Identify channels just as you would using tape on an analogue console, but with the added advantage of identifying type or highlighting channels using your choice of colour. You can even recall changes to names and colours during scenes, songs or for different bands.
Working with the mix
Simply learn two buttons – Press SEL to instantly access all the channel or master processing or routing, or to access parameters for each FX. Press MIX to work with sends and assignments. View all channel sends to one master, or all sends from one channel to all masters. You can choose to work with Aux and Matrix sends on faders or rotaries. Select the Aux send source, quickly set Pre or Post fade, copy and reset whole mixes and selected processing parameters.
Channel processing strip
A single press of a SEL key instantly presents the live processing parameters for that channel including Gain and Preamp, HPF, PEQ, Gate, Compressor and Limiter/De-Esser on dedicated controls with one per function, no menus to work through. Familiar analogue style buttons and rotaries with coloured dials make it easy to read the settings for a complete channel at a quick glance. Controls illuminate when they are available. Extensive metering shows signal activity at every point in the signal chain. SEL keys in each processing block let you select the related graphical view in the TouchScreen, PFL the signal at any point, and copy, paste or reset settings. All processing is available on each DSP channel all the time so you can never run out of DSP power.
TouchScreen
The screen provides touch access to system set up, FX parameters, memories and utility functions. Touch a screen button or parameter block and adjust its value using the screen rotary control. A Routing mode lets you view the sends and assignments for a selected channel. The screen also provides an alternative graphical view of the channel processing giving you both analogue and screen based methods of working. For example, you can adjust the EQ using the processing strip analogue style rotaries, dial in exact values using the screen rotary, or use your finger to drag the EQ curve into shape. Dedicated screen select keys mean that the function you want is never far away.
Graphic EQ on screen or faders
The graphic EQ for each of the 32 mixes can be adjusted using the TouchScreen or quickly flipped to Surface where the motorised channel faders take control of the 1/3 octave bands. The display changes colour and shows the related frequencies and dB values making it obvious you are in GEQ mode. Press SEL to quickly reset bands to 0dB. There is even an RTA display on the meters above the frequency bands.
SoftKeys
8 user assignable soft keys let you present selected functions for instant access. You have a choice of many options including Scene recall, mutes, mix and processing select, FX tap tempo and more.
Copy, Paste and Reset keys
iLive provides dedicated edit keys rather than burying these important functions in hidden menus. Accidental operation is prevented using a press-and-hold operation together with the SEL or MIX key associated with the parameters you wish to edit. You can quickly copy or reset selected parameters, whole channels or mixes.
Sound Quality
Highlighted as a top priority in designing iLive, our team is immensely proud of the performance and sonic quality achieved. The highest grade preamp and converter stage designs, enough DSP to provide full processing without compromise, careful attention to low latency, low residual noise and wide dynamic range… The iLive delivers a warmth and clarity that is every bit as good as the finest analogue console even when all the channels combine in a busy mix, the telling test for any digital console. With so much headroom available it is nearly impossible to clip the signal, even when the meters are reading hot.
iLive sound quality has been favourably compared with consoles costing many times the price. The proof is in the listening.
Highlighted as a top priority in designing iLive, our team is immensely proud of the performance and sonic quality achieved. The highest grade preamp and converter stage designs, enough DSP to provide full processing without compromise, careful attention to low latency, low residual noise and wide dynamic range… The iLive delivers a warmth and clarity that is every bit as good as the finest analogue console even when all the channels combine in a busy mix, the telling test for any digital console. With so much headroom available it is nearly impossible to clip the signal, even when the meters are reading hot.
iLive sound quality has been favourably compared with consoles costing many times the price. The proof is in the listening.
The powerful 64x32 RackExtra DSP mix engine provides full processing everywhere all the time. Every iLive MixRack, even the tiny iDR-16, can process a full 64 channels, 32 mixes and 8 FX. No need to assign limited resources. Delay is provided on every input and output. Even the 8 stereo FX returns feature EQ and dynamic effects shaping and are in addition to the 64 input channels giving you a total of 72 sources to the mix in a single MixRack system. With so much DSP available the processing algorithms have been created to achieve a truly analogue sound. Have a listen to the compressors and graphic EQ…
A powerhouse in a small footprint… No more expensive and bulky outboard equipment racks and cable looms.
Input channel processing
Each of the 64 channels is equipped with recallable preamp control, trim level, HPF, noise gate, 4-band PEQ, compressor, limiter/de-esser, delay and physical insert capability. The channel trim function provides independent front end control when sharing mic preamps in split FOH/Monitor systems.
Mix master processing
Each of the 32 configurable mixes have a 4-band PEQ, compressor, limiter, 1/3rd octave GEQ, delay and physical insert capability. The PEQ can operate as HPF and LPF, ideal for tailoring the response of monitor mixes.
FX processing
Each of the 8 stereo FX returns adds a 4-band PEQ and dynamic FX shaper to the many FX parameters accessible via the TouchScreen.
Preamp
The preamp controls are presented as you would find them on a conventional console. All parameters can be remote controlled from the Surface or laptop and stored in Scene memories. A Trim function provides +/-24dB control which can be used together with or instead of the Gain control, ideal for independent FOH/Monitor front end control when two engineers are sharing the same preamps. The screen also lets you select the channel source. Patch any preamp, physical socket or Port A/B channel, split one preamp to two or more channels, return the FX for full processing.
HPF
Switch in and dial the cut off frequency from 20 to 400Hz.
Gate
Every input channel features a noise gate with full parameter control including sidechain. The familiar control layout makes the dynamics very easy to use. Signal level is displayed behind the threshold setting to help you quickly find the gating point. You can even listen to the sidechain to check the key filter frequency.
Compressor
A compressor is available on every input channel and mix master, presenting its own set of controls with similar, familiar layout to the gate, complete with sidechain filter and signal level display behind the threshold setting. Auto mode lets you select different types of compressor response. The screen adds a dynamics graph and useful histogram time line of the gain reduction.
Limiter / De-esser
The third dynamic processor adds a limiter to each input channel and mix master. The input limiter can be switched to become a de-esser, giving the operator both a compressor and a de-esser on vocal channels. There are no compromises - every dynamics processor is instantly accessible.
Parametric EQ
4 band fully parametric EQ with HF and LF bands switched for shelving, bell or filter response. The uncluttered display quickly shows you the overall picture, with further detail available from the graph and values displayed on the screen.
Graphic EQ
A third octave graphic EQ is provided on every mix master giving you an impressive total of up to 32 graphics simultaneously available. Adjust using the TouchScreen or faders, complete with RTA display of the current PAFL signal and ability to reset individual frequency bands. A dedicated GEQ FADER FLIP key lets you access the GEQ instantly – no need to go through menus.
Delay
Every input and mix provides screen access to delay for a wide range of applications such as speaker driver time compensation, rear fill delay, aligning speaker systems to acoustically dominant stage sources, and improving clarity in theatre shows. Parameters can be displayed as time or distance, with temperature compensation available.
Metering and monitoring
True to form, Allen & Heath have provided iLive with one of the most comprehensive console metering and PFL/AFL monitoring systems available today. Features include Surface and Editor multi-point channel metering throughout the signal chain, custom meters screens, layer peak indication, separate selection of input and mix PFL or AFL in-place, PFL override AFL (ideal for monitor duties), auto-cancel or additive mode, clear all, delay (for time alignment of engineer’s monitors), dual AFL masters for engineer’s Wedge and IEM listen, PFL trim control, user option to link the PAFL key with the channel SEL and/or MIX keys, headphone amps at both the MixRack and Surface, ¼” and 3.5mm sockets, Surface local monitor out, and SIP (solo-in-place) and more...
Signal generator
A built-in oscillator presents choice of white noise, pink noise, swept frequency sine wave or band pass noise, with level control and individual assignment to any mix. This is an invaluable tool for the engineer when setting up and testing the system.
RTA
A real time analyser can display the 1/3rd octave frequency response of any currently selected PAFL signal. The RTA can be viewed on the screen, on Editor, or across the Surface meters in GEQ on faders mode. A peak indicator displays the dominant frequency, ideal for helping identify frequencies when working with the graphic EQ while ringing out monitors on stage.
DCA groups
iLive offers no fewer than 16 DCA groups. Input channels and mix masters may be assigned to these. They may be configured as DCA or Mute Groups. Muting a DCA group mutes all channels assigned to it so you know you can quickly shut off your sources. Name and colour them and position them anywhere across the Surface for instant and error free operation.
Channel ganging
8 Gangs with up to 8 channels each can be created. Choose which parameters to link. For example, link channels for stereo or grouped processing, or link L, R and Sub main outputs so that one GEQ affects the whole PA.
Backing Up the System
One of the top considerations for the live engineer is knowing how reliable and fail safe the system will be. With the advent of increasingly complex digital and computer based mixing and processing equipment this has become a growing concern. iLive successfully tackles this in several important ways:
DSP is in the MixRack
Audio is processed and output right where it is needed in the rack near the stage sources. If power is lost at the FOH position then audio continues uninterrupted.
Redundant backup power supplies
All MixRacks and also the top of the range iLive-80/112/144/176 Surfaces provide the option for second power supply as backup. Audio continues uninterrupted if power switches from one supply to the other.
Redundant digital snake connection
There are several options within the iLive range to allow connection of a second audio network cable as a backup. The top of the range iDR10 and iLive Surfaces fitted with RAB2 can use Port A ACE or MADI option cards in dual redundant mode with auto switching between two cables. These cards also offer dual redundancy when fitted to Port B of any MixRack. Because iLive uses standard networking technology it can also benefit from many of the third party backup solutions available.
Power down memory
iLive remembers all its settings and will restore these when the system is turned on, even if power has been unexpectedly lost for a brief moment during a show. It takes just a few seconds for the MixRack to restore audio operation during a reboot.
Relay protection of the outputs
iLive outputs are instantly isolated from their destinations when power is removed and also for several seconds during the boot up process. This means there are no loud clicks or bangs if power is unexpectedly lost during a show, or the wrong system power up/down sequence is applied.
TouchScreen and Surface have separate computers
Even though the TouchScreen is built into the Surface it has its own computer and is a separate device on the iLive network. If the screen were to fail then the Surface continues to control the mix. You can even connect your laptop to run an emulation of the screen.
TouchScreen runs Linux operating system
The Java screen computer uses a very stable version of Linux to ensure utmost reliability running the Java based screen application.
Editor laptop control
One or more PC or MAC laptops running Editor can connect to the iLive network and provide simultaneous or alternative control to the Surface. If Surface control is lost for any reason then the laptop can continue to run the show.
Modular construction
Even the fixed format versions of the MixRacks and Surfaces use a distributed modular internal construction. The benefit of such construction is well understood in the audio community.
Different cables are used with iLive depending on the control and audio interface options fitted. The choice of cable and connector type is important in ensuring it is suitably reliable and rugged for the application, does not degrade system performance and meets the associated EMC standards requirements. Cable type becomes critical for longer distances and touring applications. The cable is the link between major components in the system and its importance should not be under estimated when specifying type and construction. The following notes provide a guide to recommended types:
CAT5 and connectors
Use STP (shielded twisted pair) CAT5e cables. Those with both foil and braided screens provide shielding from interference and are generally more rugged. Although solid core types can perform better at longer distances stranded core cables are less prone to damage when kinked or repeatedly coiled. If you use a solid core type for touring check with the manufacturer that it is rated for the touring application. For long distance cables and those that are repeatedly plugged we recommend you use the Neutrik EtherCon connector which has a shell that protects the connections and locks it in place when plugged into the mating EtherCon socket provided on iLive. Protective dust caps are available for these connectors.
Allen & Heath can provide the following approved CAT5 cables:
Part AH7000 80m (264 feet) drum of Neutrik Etherflex cable with EtherCon locking connectors
Part AH7813 2m (6.6 feet) Neutrik Etherflex cable with EtherCon locking connectors
Part AH7812 Short Neutrik Etherflex cable for ACE option Bridge link
Part AH8721 120m (393ft) drum of ACE/dSnake cable with locking connectors. Made by Klotz, this is the most flexible CAT5 cable for mobile use on the market.
ACE
ACE (Audio and Control over Ethernet) is the most common Surface to MixRack or MixRack expansion link used when a point-to-point rather than networked connection is required. It combines Ethernet control and bi-directional local audio I/O over a single cable. It can run up to 120 meters (400 feet) but this does depend on cable type. We do not guarantee all CAT5 cable types to work at the longer distances. Use good quality cable and connectors throughout. Even the short bridge cable needed with the ACE option card should be of professional standard as it is a critical link in the system.
The following CAT5 cable types have been tested and approved by Allen & Heath to meet the required EMC standards and connect ACE up to 120 meters:
Manufacturer | Part no | Cable type | Comments |
Lapp Kabel | Etherline P flex 2170300 | Stranded with a foil & braided screen | Available in USA |
Klotz | RC5 RAMCAT5-flex | Stranded with a braided screen | |
Proplex | PCCAT5EP | Stranded with a foil & braided screen | Available in USA |
Klotz | RC5SBSW | Solid with a foil & braided screen | |
Neutrik | Etherflex | Stranded with a foil & braided screen |
EtherSound
EtherSound is an industry standard audio networking system that is based on Ethernet technology. The EtherSound option is available for iLive providing an alternative networked Surface to MixRack link, system expansion and recording. The standard is maintained byDigigram who provide further information about the technology and supporting products on their web site www.digigram.com andwww.ethersound.com CAT5 cable is used. Cable type is critical to performance at longer distances and not all types will work at the longer distances.
A list of cable types approved by Digigram for use with EtherSound is published on their web site at www.ethersound.com/technology/compatibility.php The maximum distances of each type is noted. Some of these cables are approved to distances longer than 100 meters.
MADI
MADI is an industry standard multi channel digital audio interface documented by the Audio Engineering Society as AES10. The MADI option is available for iLive providing a convenient interface for recording and integration with third party systems. The iLive MADI option supports 64 channels of serial digital audio transmission over 75 ohm coaxial cable. Typically two cables are required, one for each direction of audio. The MADI standard supports up to 50 meters (165 feet) but if audio is being transmitted from a third party device to an Allen & Heath MADI card with no audio being returned, or being transmitted both ways between two A&H cards, then the cable length may be extended. An RME MADI card transmitting audio to an Allen & Heath MADI card can work up to 150 meters (500 feet). Longer lengths may be achieved but this requires the use of a mains filter for each device if the link is to remain error free during high voltage mains interference. Note that it is important that good quality BNC connectors are used and that they are correctly crimped to the cable. For this reason it is best to buy ready made cables rather than attempt to make your own. Note also that you should avoid kinking these cables or coiling them with tight loops as this may cause damage.
Allen & Heath have tested and recommend Belden 1505A 75 ohm coaxial cable for use with MADI. Other cable that meets the specification of this cable may be used too.
A list of cable types approved by Digigram for use with EtherSound is published on their web site at www.ethersound.com/technology/compatibility.php The maximum distances of each type is noted. Some of these cables are approved to distances longer than 100 meters.
MADI
MADI is an industry standard multi channel digital audio interface documented by the Audio Engineering Society as AES10. The MADI option is available for iLive providing a convenient interface for recording and integration with third party systems. The iLive MADI option supports 64 channels of serial digital audio transmission over 75 ohm coaxial cable. Typically two cables are required, one for each direction of audio. The MADI standard supports up to 50 meters (165 feet) but if audio is being transmitted from a third party device to an Allen & Heath MADI card with no audio being returned, or being transmitted both ways between two A&H cards, then the cable length may be extended. An RME MADI card transmitting audio to an Allen & Heath MADI card can work up to 150 meters (500 feet). Longer lengths may be achieved but this requires the use of a mains filter for each device if the link is to remain error free during high voltage mains interference. Note that it is important that good quality BNC connectors are used and that they are correctly crimped to the cable. For this reason it is best to buy ready made cables rather than attempt to make your own. Note also that you should avoid kinking these cables or coiling them with tight loops as this may cause damage.
Allen & Heath have tested and recommend Belden 1505A 75 ohm coaxial cable for use with MADI. Other cable that meets the specification of this cable may be used too.
