suggestions

iLive Archived iLive Discussions
21

Hi Paul,

You need to hold the 48v button on the surface for a second for it to work. This is intentional, to stop embarrassing accidents. The soft button on the screen will work instantly.

Cheers,

Darren

22

Clear-Com option would save as the 70mtr XLR cable to the desk.

23

Hey thanks Darren.

couldn’t think for the life of me why they’d take that funtion out but acctually having it on a delay make abit of sense to stop those little accidents.

Cheers

Thanks again.

PaulBag</font id=“blue”>

Void if Removed </font id=“blue”>

24

the phantom power switch on the preamp section has to be held down for a few moments to be active - to stop people accidently pressing it during a gig !!

so hold it down for a few moments.

25

Thing that I would like:

  • Gated reverb (I think its coming :o)</font id=“size1”>

  • Multi-band compressor – I often use a BSS 901- dynamic EQ to reduce that 3-4K vocal harshness that can occur, something that could do that would be great. (I think the d-esser will do something similar if tunned to the correct frequency.)</font id=“size1”>

  • Stereo main output on a single fader option – This would be of most value on an 80 surface. Most shows that I do always have the same left and right output levels. Having a single fader (option) would save space on the surface for something else. It could have L+R with pan, even sub drive on the alternative knob function.

  • Scene insert as described by Bryce.

  • The ability to change the gain and EQ settings for selected channel over multiple scenes without having to access every scene. - This is useful for theatrical work when a mic is changed or positioned differently between performances and its gain needs to be changed on every scene.</font id=“size1”>

Other suggestions

  • The board to be supplied with some better standard configurations for FOH and Monitors that has the sends on rotaries. I think you need 3 standard configurations. One for FOH only operation, one for FB only operation and one for FOH + monitors from FOH.

  • I would like to be able to control one rack from two surfaces just as I can at the moment with one surface and a lap top. That way it would give me a cheap and simple FOH + Monitor application. It’s not ideal but I still think it’s a useful application. (can you already do this?)</font id=“size1”>

  • I don’t like the make up gain on the default compressors. Make up gain should be added by the user. During a show I have had people “insert” compressors on individual channels, groups, and main outs, adding 15 or more dB of gain to the system and then struggle with the resulting gain changes to foldback and FOH.

Perhaps the defaults should include settings with and without make up gain. I understand that you can store your own (which I have done) but to gain acceptance by new operators you don’t want any hidden tricks. They are likely to select the factory settings instead of a user programme.

  • A slightly larger font on the printing used around the led EQ displays etc.

Peter

26

phantom power on top panel is 1 second hold down required to prevent accidentals. The button in the pre amp page is obviously quick touch.

27

a “Siderack View”-screen:

  • dynamic reduction-meters for ALL channels at one screen!
28

Hey Me Again with another Question bout iLive Editor.

Do you connect to Surface through the Network Port or the PLAnet Port?

PaulBag</font id=“blue”>

Void if Removed </font id=“blue”>

29

Hi Paul,

The PL-anet port is used for those little remote boxes with faders, knobs and displays, wich are allready on the market for years with the iDR4 and iDR8 matrix units from Allen & Heath. You can use these remotes for controlling in ear mixes by the musicians or extra VCA faders or just for master volume from the directors desk or office :smiley:

Connect your CAT5 cable from your network port from your laptop to the 3 way Networkport on your iLive. Your Editor software is just like another controller on the “control” network of the system.

Bit confusing as we understand, same cables in use for multiple functions and systems… Cat cables…

AUDIO > Ethersound 64 bidirectional audio on the RAB card, for connections between iDR10, iDR0 and console’s and 3rd party ethersound stuff.

NETWORK > control of the system, DSP’s, gains etc, consoles & editor software via the network i/o’s

PLanet > little remotes, programmable in the software, own connectors on console and rack.

AVIOM > ( optional ) 16 bus in ear support system

Non of these are compatibel with each other, so a color code of your cables or good labelling is advised !!!

but hey, dont we use a XLR for Line, MIC, Speaker or 12V Littlite ?

30

Hey Jaap.

Thanx for that I am aware the PL-anet is used primarily for those little mixers. was just wondering that since a laptop isn’t actually another surface (Just acting like one) that you may need to use the PL-anet like you do with the little mixers.

But yeah thanx for clearing that up for me.

Another Question:

When our Church setup our iLive we used DCA to manage our Groups I.E: Drums, Guitars, Keys, VOX

I think thiis was mainly cause using DCA we could mute entire groups and it was easier for us to understand how to setup DCA’s at the time. Could someone please detail for me the pro’s or cons against this action and whether using a Group for groups would be better as all we can do using DCA as Group masters is Mute the entire group.

PaulBag</font id=“blue”>

Void if Removed </font id=“blue”>

31

Hi Paul,

Well simply said, the DCA is a remote control, the group is a sidepath with real audio control…

To understand that, you have to understand the matrxing of a vca/dca and a group, and the reasons why to choose for one of the two.

First the VCA/DCA : this is a CONTROL fader wich can control relative a group of faders, in VOLUME and in MUTE, there is NO audio coming through this fader, it’s just remote controlling faders, stereo or mono, who are members of that VCA master. This is mostly used to ( indeed as you do ) adjust the complete drumkit volume or mute, or all backing vocals or all instruments… every engineer has his own reasons to make it easy for him and not adjusting 12 faders , but just one vca fader to give the whole drumsection a bit more. The VCA/DCA is used in most modern analoge mixers and offcorse in all digital mixers… it makes life easy, and audio is not disturbed, routed, again remember the C in DCA is for CONTROL , remote control…

The Group is just an audio master, like your aux master, or stereo master, it’s a mono or stereo BUS where you can send your signals through. A group of signals of wich the AUDIO path is now really behind the channel faders going directly to the groupmaster, audio is controlled also by this fader, and offcors its mute button.

So they are doing allmost the same, the DCA remote controlled and the group direct with audio running through. What’s the difference?

Well if you just want to mute , groupvolume adjustment etc… the DCA is the perfect choice.

BUT if you want to EDIT this group of channels, with EQ, compression, or just send it to a special destination for recording, zone’s etc. , you do not need only to have control over that group, you want the AUDIO, and that’s when you use the Group.

examples : a compressor on your complete drumkit , an EQ on your complete screaming Choir.

Basicly : DCA = remote , Group = sum of audio

So in your situation, Yes DCA is o.k. for muting and controlling the groups you made. BUT if you want a compressor on the complete drumsection or wanna do something with the complete audio of a group, use a group.

32

A ‘DCA’ is simply the digital console equivalent to a ‘VCA’ group. As Jaap says, just a remote control of the assigned channel faders.

To learn more about DCA (VCA) grouping you can download our ‘Mixing Live with VCAs’ guide from the Allen & Heath web site:

https://www.allen-heath.com/UK/ViewProductDownloads.asp?search=Mixing%20Live%20With%20VCAs

Hope that helps,

Carey

33

its the little things in life… i would like to see the capability of routing the tap button for the tap delay effects to the user assignable soft keys that way i don’t have to take up valuable screen space to tap and also prolong the touch screen when you’re really into the music and think that the tap button is part of the drum set.

34

sorry one more thing … when you are using a laptop for an online editor for a sudo-monitor console is there a way to PFL on the laptop itself instead of sending to the main console PFL and upsetting the FOH guy. Also this would be helpful if there is a bad line that you are troubleshooting on stage that way you can mute the channel and check it from the laptop on stage instead of having to walk back and forth from FOH to stage (no budget for segways)

35

No, at the moment there is no audio available at the laptop. Audio over wireless network is something for the future no doubt [8D]

You could map the PAFL output to a socket on the mixrack to feed a small monitor speaker (switch this off when you leave stage) or even a wireless in-ear for checking the signals while moving around on stage. If you are working with one iLive doing monitors from FOH then this would of course use the same PAFL system as FOH.

Regards,

Carey

36

More suggestions, 8 band parametric on the outputs (well 6-8 I still don’t like graphics)

Prgrammable mute groups to soft buttons, The DPR901 (I Know Rob is working on it) Global update of a channel setting in all stored scenes though don’t have a clue how that would be achieved.

Insertion of scenes (I know it has been mentioned before)

Think that is it for now I am sure there will be more.

Mr. B.

37

my suggestions:

  • all channel gain reductions as meters in one screen (only overview)

  • scene and effect -store synchron in editor-software AND desk!

  • channel link functions

  • much faster “DCA Mute” flash in channel displays - now it is very slow!

  • gate with expander-function

  • clean hum and noise in headphone (iLive80)

  • faster scene memory

  • editor-software(PEQ-window): switch the position from frequency and bandwidth - like the iLive surface

  • fast switches for different rotary-functions

  • POST-fader position for output-limiter

  • RTA level adjust

  • AUX-send pickup-position: bigger buttons on the touchscreen - or my fingers are to fat? [:smiley: ]

  • “multicore” in one cable

  • easier “0”-position for single EQ gains (PEQ and GEQ)

effects:

  • gated reverbs

  • frequency shifter

  • distortions :wink:

(sorry for my bad english)

38

I’m still REALLY new on the iLive. But one thing that would be good would be if on the keyboard the Shift key would drop off after a character was pressed (so you can use Initial Caps rather than ALL CAPS on names).

Yeah, I know. It’s pretty minor.

39

Auto-tune plugin[:wink: ]

40

Would it be possible to have the Bank Layers be stored in scenes so that when a scene is recalled the layer on top when the scene is saved comes back up on top when the scene is recalled? I appears to me that whatever layer (A, B, C, or D), on any Bank of faders, is up on the current scene is also up on the recalled scene.

Is it possible to have the Mute indicator light on faders in a DCA that is muted, show that the fader is muted because the DCA is muted?

I would like the ability to insert a new scene between existing scenes - or the ability to move the order of scenes.

I am still quite a new-bee but the console (iLive 144) is incredible.

Scott A. Velting