Stagecraft Trading

iLive puts the audio processing right where it is needed - on or near the stage. The DSP is in the Mix- Rack, keeping latency to a minimum and giving you the freedom to choose how you control the mix.
iLive provides comprehensive on-board signal and FX processing, so there is no need for expensive and heavy outboard quipment racks. This not only saves space, but reduces preparation time, and cuts back overheads too! Bulky and expensive multicores are a thing of the past, as cabling between the console and Mix-Rack is CAT5.

Full processing is available all the time. Each of the 64 input channels has a gate, parametric EQ, compressor, limiter/de-esser and delay, while all 32 mix outputs have a 1/3 octave graphic EQ, parametric EQ, compressor, limiter and delay.

Complete set-ups can be stored in the console and saved to a USB key, so adapting to different venues, applications, and artists has never been easier. All parameters can be saved, updated, and recalled, so engineers can carry their settings and libraries with them - saving precious time at the gig.

System Components and Options

iLive is a modular system. It may be ordered as a standard format or customised to your requirements. IO modules are interchangeable between the Mix-Rack and the surface. The heart of the system is the iDR10 Mix-Rack loaded with iDR-64 mix engine, but other formats may be introduced in time to complement the distributed digital audio network and control options as the system evolves. For rental companies and hire stock, this flexibility will prove invaluable to meet the demands of modern production. The number of processing input channels per iDR-64 DSP engine is 64. The number of configurable mix buses is 32.

		Digital Output Module 8 channels arranged as 4 stereo digital outputs simultaneously available on 3 formats: AES3, SPDIF & Optical. Mute status LED, and check LED for active PAFL per channel. more... iDR10 Rack 19” rackmount unit supplied in shock-mounted inner frame in touring grade flightcase. 10 option slots for I/O modules + RAB, DSP, and CPU modules. more...
iLive Surface Control surface for the iDR10 Mix-Rack. The surface is shipped in a three-part touring grade flightcase. iLive-80: 20 fader-strips / iLive-112: 28 fader-strips / iLive- 144: 36 fader-strips / iLive-176: 44 fader-strips		Multi Digital Output A double width module supplying 16 channels of digital audio in a variety of formats to interface to systems commonly used on stage or for recording: Aviom, Hearbus, iDR expansion, ADAT. more...
iPS-10 Power Supply 2U 19" rackmount back-up power supply for iLive-112/144/176. Shipped with DC power and temperature sense connecting cables.		Dual Mic Line Input Same performance as standard mic/line input, but with switching offering a choice between 2 inputs into each preamp. Has Phoenix connectors and is good for prewired cable systems and fixed installations. more...
Surface Remote Audio (RAB) Module Required if EtherSound is used. One ES card fitted. This module is not interchangeable with the Mix-Rack RAB module.		iDR10 PSU (module option) One or two psu modules may be fitted to the rear of the iDR10 Mix- Rack
Surface CPU Module Required for managing the surface and interfacing the control to the Mix-Rack. It also provides additional Ethernet ports, MIDI and PLAnet interface.		iDR-64 DSP Module DSP mix engine has 64 processing input channels and 32 configurable mix bus channels plus additional DSP for the optional output and effects processing.
Mic/Line Input Module 8 high quality mic preamps on XLR. Remote controlled gain in 1dB steps. 80dB gain range including the 25dB pad. Individually switched +48V phantom power with local or remote phantom status LED. Check LED for active PAFL. more...		Mix-Rack Remote Audio (RAB) Module Required for managing the system clocks, headphones and optional network audio cards. A DARS (digital audio reference signal) output is provided. This module is not interchangeable with the surface RAB module.
Digital Input Module 8 channels arranged as 4 stereo digital inputs each with choice of 3 formats: AES3, SPDIF & optical. 32kHz to 96kHz sample rate conversion. Check LED for active PAFL. more...		EtherSound A (ESA) card option May be fitted to the Mix-Rack RAB module to provide the EtherSound remote audio to/from the surface and other EtherSound compatible devices.
Line Output Module 8 electronically balanced XLR line outputs with Mute status LED, and check LED for active PAFL per channel. more...		EtherSound B (ESB) card option May be fitted to the Mix-Rack RAB module to provide the EtherSound system expansion including 64 channel mic split or expanding to 128 inputs. May also be used for multitrack recording.

Processing

The iDR-64 DSP mix engine provides all the processing power for 64 input channels and 32 mix outputs. Not only does iLive present all the gain, EQ, assignment and level control you would normally find on a well equipped analogue console, but it brings on board the many outboard racks you would need if you were to insert full dynamics processing and delay across all 64 channels, patch in dynamics, third octave graphic EQ and delay on each of the 32 mixes, and hook up a rack of effects processors. The space and cost saving together with convenient stock and transport handling benefit is huge. And there are no compromises, no 'small print' - all the processing is available all the time - you can never run out of DSP!

iLive features an innovative ‘Processing-Strip’ interface that retains the familiarity of the traditional analogue console with its one-knob-per-function rotary controls and switches, and a display that gives the operator a quick overview of all settings at a glance. To access the processing for a channel or mix simply press its control strip 'SEL' key. For more detailed and graphical information, the parameter information can be displayed on the Touch-Screen too.

Channel processing is also controllable offline and online using ‘iLive System Manager’ software which can be run on your PC or laptop. Control of iLive is transmitted via TCP/IP over Ethernet - both the surface and the iDR10 Mix-Rack are equipped with Ethernet hubs making it easy to set up a control network - so for example, a technician could access channel mix processing such as graphic EQ and delay to set up the PA system from a laptop, while the FOH engineer concentrates on other tasks.

	Preamp
	The mic/line head amp controls are presented as you would find them on a conventional console. You even get a peak indicator. All the preamp parameters can be remote controlled from the console and stored in the scene memories. If the channel is assigned to a digital input then the gain control provides a +/-24dB trim.
	SEL Key
	Press any processing block 'SEL' key to bring up the associated page on the Touch-Screen. Press and hold to PFL the signal at any point in the signal chain, or hold with the COPY, PASTE or RESET keys to edit parameters.
	Insert
	Insert points can be assigned to any input or mix. There is an insert present indicator and IN switch to toggle the inserted processing in or out.
	High Pass filter
	Switch the filter in and dial the required frequency from 20 to 400Hz to eliminate unwanted low frequency pops and noise.

		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. The signal level is is played 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.
		Parametric Equaliser
		4 band fully parametric EQ with HF and LF bands selectable for shelving or bell response. The uncluttered display quickly shows you the overall picture, with further detail available from the graph and values displayed on the Touch-Screen.
		Compressor
		A compressor is available on every input channel and mix master, presenting its own set of controls with a similar layout to the gate, complete with sidechain filter and a signal level display behind the threshold setting. The Touch-Screen adds a response graph and useful histogram 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.

Scenes, Shows and Libraries

Shows

One of the major advantages of going digital is the ability to save all system parameters and recall them at will. Total recall at the push of a button! iLive can store all, or a selection of, parameters on the console into Scene memories. These memories can then be seamlessly recalled for the next song or band. The scenes are then wrapped up into a Show so at the end of the night settings can be saved ready to be recalled the next night, or archived to a USB key. iLive also provides Libraries containing personalised settings for the processing and FX sections, allowing favourite settings to be called up on any channel strip. The library tools appear in the on-screen processing displays and settings can be accessed from the internal memory or directly from a USB memory.

The library manager utility allows settings to be moved between the surface and USB key for backup. Use libraries to save a favoured kick drum or bass DI EQ settings and get to the right sound quickly.

To complement the memory system, the Copy, Paste and Reset system further aids fast setup of the system for shows. All the stress of show night- long sound checks and complex changes, can be removed as iLive takes care of all the hard work.

Security and User Permissions
The console owner, or administrator, has full control over the configuration and saving and recalling of data in the iLive system and may create password protected profiles for up to eight users to restrict their access to important data. The system can be protected from critical configuration, communication and parameter data being overwritten by users. For example, in a ‘festival’ situation, engineers for each act can be given permissions to store input channel names and colours, and all the associated processing (preamp, gate, EQ, compressor, etc) during each sound-check or offline preparation. At the show, each band’s settings can be recalled using Scene Manager without changing the system fader-strips, bus structure, or graphic EQ settings.