Allen & Heath’s ES-Enabled iLive Digital Console Shines in Diverse Applications
By Chris, Thursday 14 June 2007, 16:53 :: Success stories :: #28 :: rss
iLive uses EtherSound to connect the control surface and mix engine. The system is performing flawlessly in several new installations.
Allen & Heath, long known as a premier manufacturer of analog consoles, has gone from strength to strength since buying itself out of the Harman Pro Group in 2001. Allen & Heath engineers waited, watched and learned while developing their digital consoles, approaching the category with a unique perspective. The heart of the iLive system is the iDR-10 stand-alone stage rack, which has 10 slots for 8-channel audio interface cards: both analog and digital I/O cards are available. The iDR-64 DSP module is the “brains” of the iDR-10: it processes 64 channels into 32 mixes, which can be assigned as auxes, groups, matrix and main outputs. This DSP powerhouse also provides essential mixing tools such as gates, compressors, limiter/de-essers, graphic EQ’s and effects. Controlled via an Ethernet network, the iDR-64 can be operated from a variety of user interfaces, including the range of iLive control surfaces, Allen & Heath’s PL range of remote units, third party devices, or a laptop/PC. Currently, the iLive range offers options from the compact iLive-80, designed for smaller applications such as theatres, churches and touring bands with 80 control strips in two 4-bank sections, through the iLive-122 and iLive-144 up to the iLive-176, which can mix up to 176 channels.
iLive control surfaces have an LCD display with multi-color backlight above each fader for labeling and color-coding channel information. The channel controls for preamp, filter and EQ are laid out across the top of the surface on rotary controls with LED indicators, while a color LCD touch screen presents a graphical view of the processing and access to dynamics, EQ and effects, as well as the automation and set up screens. Audio at the surface is available via slots for the 8-channel audio interface cards.
Allen & Heath’s compact iLive-80 control surface
The iDR-10 includes a three-port Ethernet switch and uses EtherSound as its audio networking technology. It can run two 64 channel bi-directional EtherSound networks simultaneously. The “ESA” network connects the control surface to the mix engine, replacing the traditional multicore analog snake. The optional “ESB” interface allows system expansion, and can easily be configured as a FOH/monitor splitter, system link or multitrack live recording interface. Third party media converters allow the iLive system to run on fiber optic as well as Cat 5e cable. With products such as AuviTran’s AV-RedES, the iLive system can run on a dual redundant EtherSound network for added reliability in case of a problem with cabling or connectors.
Following its live debut at a benefit for Children in Need held at the Eden Project in Cornwall, iLive took a cruise along the Seine during the SIEL show last March. Audiopole, Allen & Heath’s French distributor, hosted an evening boat trip and concert for 500 guests with the iLive digital mixing system as the centerpiece. Leading sound engineers, key rental companies, and dealers were entertained by the 8-piece jazz/rock David Koven band. The iLive FOH system was supported by a GL2800M monitor console. There was a special appearance by French electro legend Jean Michel Jarre.
FOH engineer Patrick Clerc used the two tap delays and reverb from iLive’s internal effects, and the system’s DCA groups.
“I am very impressed with the system’s sound quality, particularly the reverb, and I like the ergonomics of the control surface, especially the processing strip,” said FOH engineer Patrick Clerc. “Most of all, I am amazed at how quickly I found my way around the desk - it is really easy to use!”
More recently, iLive has gone to the races at Emerald Downs, Seattle’s horse racing circuit nestled at the foot of the Cascade Mountains. Walter Lucas of Seattle Pro Audio installed an iLive-144 and iDR10 digital mixing system in the track’s main control room before the start of racing on April 20. The system handles 56 inputs from various audio sources including announcer mics, the many simulcasts that provide playback of events for the spectators, and more.
All 32 mix outputs of the iDR10 are utilized, and the programmable nature of the iLive surface allowed the engineers to configure the different mix outputs to provide feeds to the stadium, boxes, hospitality suites, track, OB vans, other broadcast feeds, and monitor mixes. The iLive-144’s easy-to-use control surface makes it easy to access and adjust any of the output feeds.
“The iLive was chosen for its routing flexibility, easy of use, superior audio quality, and small footprint, “ states Owen McClain, Emerald Downs’ chief audio mixing engineer. “The console handles various announcer mics,” explains Owen, “and multiple video feeds that are distributed across different parts of the track. In addition to the varying house mixes, we also send mixes to live uplinks that are broadcast to sports bars across the Seattle area. Mix-minus busses are utilized for phone calls, and other audio mixes are created for broadcast feeds that are supplied to O/B trucks and national TV stations. Everything works together beautifully.”
Walter Lucas commented, “the iLive’s compression, de-essing, and Allen & Heath’s legendary EQ on each input and output enabled Emerald Down’s engineers to provide high quality and detailed, intelligible audio from the commentary and announcer mics, greatly improving the spectators’ experience. The console is incredibly flexible, but what really sold Emerald Downs on the iLive was just how easy it is to use. No other digital console that I have seen provides this much power and control with such a short learning curve. Powerful and simple to use, the engineers really love it.”
iLive has also become part of the club scene at the Temple Bar in Santa Monica. The prestigious Los Angeles night club has installed an iLive-144 and iDR-10 to handle the varied nightly live music schedule. The Temple Bar is a unique venue hosting local, national and international artists performing a spectrum of music covering the genres of jazz, electronica, indie, hip hop, soul, latin, reggae, and world music. There is also a house DJ performing between acts, and the venue regularly organizes film screenings and poetry nights.
Swan at his new iLive-144
The Temple Bar's music director and chief mixing engineer, Swan, has become an iLive fan in a hurry. “The sound of the console is magnificent,” he says. “I’ve been mixing at the Temple Bar for 5 years, but I have never heard the room sound like this before. It brought our sound system alive. The compact footprint fit perfectly in our sound booth, and our mixing engineers have been overjoyed. The mic-pre’s are detailed and warm, and the iLive's mixes have excellent stereo imaging. People are really taking notice. I've done a lot of mixing on the other digital consoles and the sound of the iLive blows them away.”
To handle the wide range of acts it features, the Temple Bar is using 40 channels of audio. Four aux mixes are used for stage monitors. In addition, the there are three matrix feeds: mono sum for separate bar room feed and a stereo feed for recording. Swan is using onboard compression, reverbs, and delay effects, “The compressors sound fantastic; they are very musical on vocals,” he reports. “So we don’t have to worry about inserts.” Six DCA groups, also used as mute groups, are configured for drums, percussion, bass, guitars, keys, and vocals.
iLive control surfaces have an LCD display with multi-color backlight above each fader for labeling and color-coding channel information. The channel controls for preamp, filter and EQ are laid out across the top of the surface on rotary controls with LED indicators, while a color LCD touch screen presents a graphical view of the processing and access to dynamics, EQ and effects, as well as the automation and set up screens. Audio at the surface is available via slots for the 8-channel audio interface cards.
Allen & Heath’s compact iLive-80 control surface
The iDR-10 includes a three-port Ethernet switch and uses EtherSound as its audio networking technology. It can run two 64 channel bi-directional EtherSound networks simultaneously. The “ESA” network connects the control surface to the mix engine, replacing the traditional multicore analog snake. The optional “ESB” interface allows system expansion, and can easily be configured as a FOH/monitor splitter, system link or multitrack live recording interface. Third party media converters allow the iLive system to run on fiber optic as well as Cat 5e cable. With products such as AuviTran’s AV-RedES, the iLive system can run on a dual redundant EtherSound network for added reliability in case of a problem with cabling or connectors.
Following its live debut at a benefit for Children in Need held at the Eden Project in Cornwall, iLive took a cruise along the Seine during the SIEL show last March. Audiopole, Allen & Heath’s French distributor, hosted an evening boat trip and concert for 500 guests with the iLive digital mixing system as the centerpiece. Leading sound engineers, key rental companies, and dealers were entertained by the 8-piece jazz/rock David Koven band. The iLive FOH system was supported by a GL2800M monitor console. There was a special appearance by French electro legend Jean Michel Jarre.
FOH engineer Patrick Clerc used the two tap delays and reverb from iLive’s internal effects, and the system’s DCA groups.
“I am very impressed with the system’s sound quality, particularly the reverb, and I like the ergonomics of the control surface, especially the processing strip,” said FOH engineer Patrick Clerc. “Most of all, I am amazed at how quickly I found my way around the desk - it is really easy to use!”
More recently, iLive has gone to the races at Emerald Downs, Seattle’s horse racing circuit nestled at the foot of the Cascade Mountains. Walter Lucas of Seattle Pro Audio installed an iLive-144 and iDR10 digital mixing system in the track’s main control room before the start of racing on April 20. The system handles 56 inputs from various audio sources including announcer mics, the many simulcasts that provide playback of events for the spectators, and more.
All 32 mix outputs of the iDR10 are utilized, and the programmable nature of the iLive surface allowed the engineers to configure the different mix outputs to provide feeds to the stadium, boxes, hospitality suites, track, OB vans, other broadcast feeds, and monitor mixes. The iLive-144’s easy-to-use control surface makes it easy to access and adjust any of the output feeds.
“The iLive was chosen for its routing flexibility, easy of use, superior audio quality, and small footprint, “ states Owen McClain, Emerald Downs’ chief audio mixing engineer. “The console handles various announcer mics,” explains Owen, “and multiple video feeds that are distributed across different parts of the track. In addition to the varying house mixes, we also send mixes to live uplinks that are broadcast to sports bars across the Seattle area. Mix-minus busses are utilized for phone calls, and other audio mixes are created for broadcast feeds that are supplied to O/B trucks and national TV stations. Everything works together beautifully.”
Walter Lucas commented, “the iLive’s compression, de-essing, and Allen & Heath’s legendary EQ on each input and output enabled Emerald Down’s engineers to provide high quality and detailed, intelligible audio from the commentary and announcer mics, greatly improving the spectators’ experience. The console is incredibly flexible, but what really sold Emerald Downs on the iLive was just how easy it is to use. No other digital console that I have seen provides this much power and control with such a short learning curve. Powerful and simple to use, the engineers really love it.”
iLive has also become part of the club scene at the Temple Bar in Santa Monica. The prestigious Los Angeles night club has installed an iLive-144 and iDR-10 to handle the varied nightly live music schedule. The Temple Bar is a unique venue hosting local, national and international artists performing a spectrum of music covering the genres of jazz, electronica, indie, hip hop, soul, latin, reggae, and world music. There is also a house DJ performing between acts, and the venue regularly organizes film screenings and poetry nights.
Swan at his new iLive-144
The Temple Bar's music director and chief mixing engineer, Swan, has become an iLive fan in a hurry. “The sound of the console is magnificent,” he says. “I’ve been mixing at the Temple Bar for 5 years, but I have never heard the room sound like this before. It brought our sound system alive. The compact footprint fit perfectly in our sound booth, and our mixing engineers have been overjoyed. The mic-pre’s are detailed and warm, and the iLive's mixes have excellent stereo imaging. People are really taking notice. I've done a lot of mixing on the other digital consoles and the sound of the iLive blows them away.”
To handle the wide range of acts it features, the Temple Bar is using 40 channels of audio. Four aux mixes are used for stage monitors. In addition, the there are three matrix feeds: mono sum for separate bar room feed and a stereo feed for recording. Swan is using onboard compression, reverbs, and delay effects, “The compressors sound fantastic; they are very musical on vocals,” he reports. “So we don’t have to worry about inserts.” Six DCA groups, also used as mute groups, are configured for drums, percussion, bass, guitars, keys, and vocals.
Comments
No comment.
Add a comment