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Allen & Heath iLive-T112/48Item ID: iLiveT112-48Digital Mixing System with 4 Layers of 28 Faders and 48 Microphone Inputs 
Special Order, But We Can Get It FastBecause of our great relationship with Allen & Heath, we can get this item as fast as or faster than anyone else. Please note that special orders are non-returnable and non-cancelable - Order online or call your Sweetwater Sales Engineer for information.Note: While most of the items we sell ship for free, this item does not qualify for free shipping due to special circumstances. Get more value at Sweetwater
From Our Research Team:Allen & Heath digital mixing for a live environment!The Allen & Heath iLive digital mixing console system brings the A & H name into the world of live digital mixing. Long a legendary name in the world of analog consoles, the company's foray into digital mixing is characteristically classic and functional. The iLive digital mixing console system combines a powerful digital mix engine with the hands-on, familiar feel of a live console, and the amount of control and peripheral options is incredible. You get the touch of analog and the power and functionality of digital with the Allen & Heath iLive digital mixing console system.Allen & Heath iLive-T112/48 at a Glance:
48 mic/112 fader strip system This System is the bigger iLive-T112 surface with 28 faders and 4 layers (112 strips) at FOH mix position and the iDR-48 rack on stage near the sources. You get 72 sources to the mix including 48 mics on stage, 16 local line inputs at the surface and 8 stereo internal FX returns. The ACE digital snake replaces the traditional heavy copper multi-core that would be needed with a conventional console. This single CAT5 cable provides the network link for the surface to control the rack and also transports local audio to and from the mix position. Audio available at the rack includes 24 XLR line out, while the surface provides 12 line out (eight TRS, two RCA, and one S/PDIF). Control Surface The T Series surfaces feature the same intuitive layout that has delighted iLive users around the world. Its instantly accessible analog-style rotary controls and switches, visually informative channel labeling and color coding, comprehensive metering, graphical color touchscreen, and logical layout allows the user to avoid fiddly menus and instinctively find controls. The jump from analog to digital has never been so easy. The mix layout and local audio Each bank of faders has four layers that can be freely assigned as mono or stereo inputs, group, aux, main, matrix mix masters, DCA masters, and even engineers Wedge/IEM monitor for total control. The rear of the surface provides a host of connections for local sources, sends and inserted devices, so there is no need for a second I/O rack at mix position. Networking and control The T Surface connects to the MixRack using the ACETM link, which combines control and remote audio over a single cable. A built-in network switch allows connection of other network devices using TCP/IP such as a laptop running iLive Editor software. MIDI and USB ports are also available. MixRack and Mix engine iLive-T puts the audio and its processing right where it is needed, near to the sources on stage. The MixRack houses the mic preamps, sends, DSP and digital snake interface, which is controlled at the mix position. Both MixRacks feature the same iDR-64 RackExtra DSP engine employed in the flagship iLive Series, providing full processing and mixing for 64 channels and 32 configurable mix buses as well as 8 stereo FX engines based on emulations of popular industry classics. Imagine the gear needed for an equivalent analog system to provide 64 gates and de-essers, 96 compressors and limiters, 112 fully parametric EQs, 96 delays, 32 graphic EQs and 8 FX units! Mic inputs The MixRacks differ only in the number of input and output sockets available. The smaller iDR-32 provides 32 mic/line preamps and 16 XLR outputs, while the iDR-48 has 48 preamps and 24 outputs. Built-in patchbays enable the user to split, cross-patch and map channels and sends, requiring fewer sockets than equivalent fixed architecture consoles in many applications. A new high quality mic preamp with 80dB/1dB resolution gain range, exceptionally low latency and optimized audio signal path ensure the superb performance and sound quality for which iLive has become renowned. Processing Strip The iLive-T Surface features the proven and popular 'Processing Strip' found on our flagship iLive system. It's a combination of dedicated functional controls for Gain and Preamp, HPF, Gate, Parametric EQ, Compressor and Limited/De-Esser, which can be applied to any DSP channel in the iLive system, with full metering within each processing block. In addition, every processor features a SEL button for parameter copy and reset, or for headphone monitoring of any point in the channel signal path including the side-chain filters. All processing is available on each DSP channel all the time so you can never run out of DSP power! Surface Mixing controls Further controls on the iLive-T surface provide copy & paste of settings across strips, navigating between layers and scenes, and a selection of monitor and talkback options. To help identify channels, color-definable 'Write-On Blocks' for channel naming are provided, where the background of the channel LCD can be set to suit the user's preferences - for example, green for inputs, light blue for auxes, red for DCAs, or to highlight specific inputs. iLive-T FX iLive has an array of built-in 'rack' FX options modeled on simulations of the best products available, and these are represented graphically on the TouchScreen, from where the FX parameters can be edited. With 8 DSP engines available, there are plenty of options for system effects, such as delay and reverb, as well as inserted effects such as chorus and double tracking. Each of the effects units has a 'back panel' where I/O routing is set up.
Allen & Heath iLive-T112/48 Features:
Allen & Heath's iLive-T112/48 — the next generation of live digital mixing consoles is here!
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Reviewsbased on 3 reviewsUser for past 3 years
by Jason Castellente from Washington DC
I have been an Allen and Heath user for many years and a user of the iLive consistently for the past 3 years. I was able to run one daily for years during college for contemporary and classical event... read more [+]s at Valley Forge Christian College in PA and recently purchased one for National Community Church where I am now on staff. I love the user friendliness of the console and how easy it is to get up and running. It is extremely intuitive and sounds amazing. Given the functionality and price along with the quality of the product, the iLive is in a league of it's own. The CAT5 snake is great and will save you from having to purchase a main FOH analog snake saving you time (in transporting as well as setting up an analog snake) as well as money in purchasing extra infrastructure. I'd highly recommend this console to anyone looking to purchase a great sounding digital console and who may be worried about making that transition from analog to digital. close [-]
August 15, 2011 Music Background: Live Sound Engineer, Pro Musician, Audio training. Demoed it Live in a realistic situation, Perfect From Analog to Digital
by Stephen Hogan from Birmingham, AL USA
I've been torn between the M7CL, iLive, Vi2 console.. after using the M7CL which was not as user friendly as the iLive and the Vi2, i chose to eliminate it #1 reason is the sound quality sucked 3 sepa... read more [+]rate occasions i used it compared to others in price range... in this price range the T112 is the bang for the buck. If you got like 10 more grand id go with the Vi2 with stage box "but the one i used was already tweaked & ready to go".. we plugged in the iLive and wow, the sonic clarity was astounding especially since we didn't have time to use the on board EQs so we used the preset outboard "RANE" EQs & the sound was immediately clearer and had more definition without touching anything, literally sounded like a new system, coming from a Allen&Heath GL2200 console. Then the ability to label channels with names or initials & colors was a huge plus & with my church thats almost a must considering how many plays, dramas, concerts, we do and we literally 5 different choirs, & we have 12-14 people every sunday on the praise team alone, so recalling shows with names attached will be FANTASTIC for us at Faith Apostolic Church..August 9, 2010 Music Background: Live sound & Recording Engineer, semi Pro Musician There was no delay when you begin to mix, turn knobs & bam IT FREAKED me out for a second B/C you literally have everything at your finger tips "SEL" then your front strip has everything you need.. no flipping through pages for limiters and Compressors, or Gates... Ps. the templets are horrible just set it up yourself close [-] Not a great console for musical theater.
by Dan "DJ" Jankura from Cleveland, Ohio
I just spent the past two months mixing a rock musical on the T112 and while I am quite impressed with the feature set to price ratio I would not recommend this console for mixing musical theater sole... read more [+]ly based on the poor performance of the scene recall function. I, however, strongly believe this board is right at home in the concert and one-off live production industry.March 6, 2011 Music Background: Theatrical Sound Designer / Mixer Pros: Channel labeling, colors and patching is very easy to do one at a time or as a batch. 16 DCA groups are more than enough. Excellent RTA and ballistics monitoring features not seen on other digital consoles. The pre amps are decent for the price and have quite the dynamic range. The console is very easy to use for basic functions and feels most "analog" of the digital boards that I've used. Cons: Recall is very slow and very clumsy to edit. Recall is seriously lacking global recall safe parameters that makes changing parameters in previously written cues quite frustrating. I also had issues when recalling different saved shows where the board couldn't recall high pass filters and certain bands of EQ that were saved previously with no trouble... very strange. I found the selected channel area to be very visually unappealing and difficult to use for making detailed changes. You don't see a change on any of the meters until you make at least a three dB change. While the T112 has sends on fader mode, it was very hard to tell whether you were in that mode or not. I wish the console blinked or something to let you know you were not back to the main mix. While I appreciate 112 controllable channels on this surface it was at times hard to wrap my mind around having 12 different layers to go through with two banks of 8 faders and one bank of 12. I also really needed the ability to keep a cue list on the external monitor that I had while keeping selected channel parameters on the touch screen, which the console cannot do. Processing seemed very slow at times. There were often obvious lags when going between selected channels and PFLs. I felt like the T112 had a hard time keeping up with me when I had to make quick changes. Some features are quite deep in menus and not in obvious places such as the signal noise generator and local I/O routing. For a local sound company who needs an inexpensive yet decent sounding digital console with tons of useful basic features for concerts and festivals I highly recommend the T112. For musical theater that requires lots of detailed recall scenes and a more flexible firmware I highly suggest saving your pennies for something like an AVID SC48 or even the Digico SD9 which have amazing features for recall. close [-] Also popular
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