Digital Mixing Console System for Live Sound
The iLive Control Surface and iDR10 Stage Rack
Welcome to Allen & Heath’s iLive digital mixing system.
iLive has been designed from the ground up to revolutionise the
way you work in all types of live sound situations. Featuring an
extremely flexible architecture with distributed audio and
control, this design, developed from over 35 years experience
in professional audio, will satisfy live sound engineers working
in live shows, theatre, houses of worship and in the sound
contractor sector.
The new iLive affordable digital console range with large-scale
system distribution and configuration possibilities now brings
such an intuitive, analogue feel to digital mixing that you can
walk right up – and feel comfortable mixing straight away.
The iLive System Concept
The iLive digital mixing system offers many
advantages over traditional analogue systems. The
flightcased console surface and stage Mix-Rack
contain all the tools the engineer needs between the
microphones and the PA system.
System Components
Walk up to an iLive control surface and it will seem familiar! Four buttons per channel strip allow the engineer to select
parameters, audition, mute, and create mixes. iLive’s unique ‘Processing-Strip’ gives you instant access to all the analogue-style
controls and indicators you would want to see for processing an input channel or output mix. Intuitive and informative LED
status and meter displays let you know what’s happening to the signal at every point in the signal path, keeping you in total
control with nothing hidden or buried in menus. You are free to concentrate on where the action is – on stage!
iLive puts the audio processing right where it is
needed - on or near the stage. The DSP is in the MixRack, 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 equipment 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.
Distributed Audio - Distributed Control
iLive is a modular system, so a choice of analogue and
digital input and output cards can be arranged to suit
your application and hire inventory. The iDR10 Mix-Rack
holds 10 of these cards while the surface has a built-in
rack for a further four. The Mix-Rack sends audio to and
from the surface and other devices using EtherSound,
popular for its compatibility with standard network
components, its 64 channel capability and very low
latency. You can choose where you need your inputs,
direct outs, mixes, and insert points. The mic head amps
are remote controllable and can therefore be positioned
anywhere within the audio network.
You have the freedom to control the system with a
choice of iLive surfaces, computers connected via
Ethernet for wired or wireless control, MIDI or using our
PL Series hand-held controllers. More than just a mixer,
iLive joins a family of compatible products proven by
Allen & Heath to provide solutions in every area of
modern audio and system integration. For fixed
installations or live venue and events, iLive consoles and
iDR Mix-Racks can be combined to form an expandable
and flexible system.
If more detail is required, or the delay or library settings need to be accessed, the Touch-Screen interface provides full graphical
display of each section of the ‘Processing-Strip’ with numerical values for each setting. Data can be entered with the rotary
encoder or on-screen keypad. Onboard and USB key libraries are available so that favourite settings can
be quickly stored and recalled. The Touch-Screen also provides easy access to the system setup and
user preference screens.
Fader Strips with Coloured LCD ‘write-on’ blocks
Each channel strip on the iLive surface has a back-lit LCD display which displays the basic information
for the channel type, name, assignment status and pan functions. The channels, mix and DCA masters
can be named individually and coloured to suit the user, and freely mapped across the banks in any
combination you choose. Each of the three fader banks has four layers of motorised faders, giving you a
logical control layout of up to 176 channels and masters in a compact footprint. Strips can be
duplicated or ‘frozen in layers’ so important channels can always be visible for hands-on attention. All
these settings can be added to the scene memories and recalled at will, ideal for different artists
appearing on-stage in a festival situation, or acts/scenes in a theatre show.
System Manager software
iLive System Manager will allow both online and offline setup, simulation, and control of the system over
the EtherNet network giving multiple users the ability to control different parts of the system, to create
mix configurations and surface maps before ‘going live’, and to allow for future feature updates. This
flexibility gives iLive the ability to mould itself to the evolving requirements of live sound engineering.
Surface Controls
With all the hands-on control you would expect of an analogue console, iLive adds the many benefits of
digital mixing. Copy, paste, and reset keys allow quick set up of channel and bus settings. Parameters
can be saved and recalled from scene memories, with access buttons enabled for instant recall, or disabled to
protect from accidental operation. The engineer stays in control with a comprehensive talkback and PFL/AFL
monitoring system, as well as a protected Solo-in-Place function. As a monitor console, iLive can be configured
with a dual engineer’s PAFL monitor for independent wedge and in-ear checking. Even the LED and Touch-Screen
brightness can be independently controlled to compensate for different ambient lighting conditions. iLive presents
a control surface designed by live sound engineers for live sound engineers...
iLive offers a uniquely flexible output bus structure and control surface assignment which allows the system to
be optimally configured for each live audio application. These settings can be stored as show memories and
archived to USB key to be used again later.
Example system - FOH / Monitor system with digital mic splitter:
One Mix-Rack loaded with all 64 mic inputs is located on stage and controlled by an iLive-144 surface at FOH. Outputs for the
Left / Centre / Right / Sub / fills amplifiers can be located in the same rack, at the surface, or both! A second Mix-Rack provides
its own DSP and surface for independent control of the monitor mix. It is loaded with just the output modules for up to 28
monitor mixes as it gets the same mic signals via EtherSound from the FOH rack - a digital mic splitter. The compact iLive-112
surface at the monitor position saves valuable space on stage and keeps trucking space to a miniumum.
AV presentation: Left-Centre-Right+Sub main PA feeds, 4 stereo matrix sends for time-aligned audience fills, 6
foldback mixes with each performer able to dial up their own custom monitor mixes on PL-10 remote controllers,
and 3 stereo custom recording feeds to cameras.
Basic iLive system: One CAT5 cable is used for control of the Mix-Rack via TCP/IP. The second cable replaces
the traditional multicore for audio transport to and from the surface via EtherSound.
The majority of mic/line inputs and system outputs, analogue or digital, will be located at the iDR10 Mix-Rack, the 19”
shockmounted & flightcased ‘heart’ of the system featuring the iDR-64 Mix Engine DSP. This is linked to the control surface via
two Cat5 cables – one for system control using Ethernet, and one for the EtherSound digital audio network, providing a further
32 inputs and outputs located in the rear of the console for sources such as music players and sound effects, inserting favourite
processors, outputs to speaker management devices, recording and more. The Mix-Rack could be placed next to the surface
and fed from the stage using an existing copper multicore in a similar way to traditional FOH consoles, or you could benefit from
lower cost, longer run CAT5 cable connection by keeping the Mix-Rack on stage next to the sources. This example shows the
Allen & Heath PL-Anet connection being used on stage to daisy-chain remote controllers for personal monitor control by
individual musicians. The FOH surface continues its EtherSound network to route signals to additional ES equipped devices for
delay fills and other remote feeds.
This is just one example of many that emulate large scale 64 channel distributed live sound systems while being reassuringly
easy to operate, taking up very little space and providing the benefit of reliable recall of saved settings show after show.
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 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.
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.
High Pass Filter
Switch the filter in and dial the required frequency from 20 to 400Hz to eliminate unwanted low
frequency pops and noise.
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 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.
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.
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.
A delay module is included on all input and mix channels for time-alignment and compensation applications. Input delay adds
the ability to align the speakers to an acoustically dominant source on stage such as a drum kit, or for improved clarity in
theatre show re-inforcement. Parameters can be displayed as time or distance, and even provides temperature compensation.
The delay is accessed from the channel thumbnail view in the Touch-Screen.
Graphic Equaliser
A third octave graphic EQ is provided on every mix channel, giving you an impressive total of up to
32 equalisers. The 25 bands provide standard ISO frequencies from 63Hz to 16kHz. Settings can be
adjusted using the Touch-Screen, or flipped to the faders for quicker, more accurate control, for
example when ringing out the speaker system. The fader view presents all bands as well as the mix
master level control. Frequencies are displayed on the strip LCDs which change colour to indicate EQ
mode. A GEQ FADERS OFF key lets you quickly restore the faders to normal operation. Settings can
be stored as library presets, saved in scene memories or copied between mix masters.
PAFL Monitor
True to form, Allen & Heath have provided iLive with one of the most comprehensive
console PFL/AFL monitoring systems available today. Features include the 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 local and ear-based monitors), dual AFL masters for personal monitoring
and wedge monitor listen, AFL trim control, and a user preference option to link the
PAFL key function with the channel SEL and/or MIX keys. Add to this the provision of
headphone amps at both the Mix-Rack and surface, the PAFL indicators that light on
the Mix-Rack to display to the stage tech which channel is being checked, the extra
3.5mm mini jack for in-ear headsets, and the surface local monitor output...
Signal Generator
An oscillator is provided with choice of white noise, pink noise, swept frequency sine
wave or band pass noise, with level control and individual assignment to any output
mix. This can be invaluable to the engineer when setting up the system.
Apart from the extensive channel and 'Processing-Strip' metering, the Touch-Screen
provides additional standard or user defined custom views of the system meters to
keep you in touch with signal activity at all times. Gain reduction indicators for active
gate, compressor, and limiter processing in the system are also shown in this
screen. Using a computer running iLive system manager, a technician can oversee
the signal distribution between the iLive console, the Mix-Rack, and other equipment
anywhere on the control network (wireless freedom included!).
FX Processors
As standard, iLive provides two high quality FX
engines created following years of development by
the Allen & Heath design team. Internal ‘short’ stereo
FX returns can be assigned to channel strips on the
console surface without using up input channels
giving you the equivalent of 68 sources feeding the
mix. Up to four more FX engines may be configured
from an additional DSP processing option..
DCA Groups
iLive offers 16 DCA groups. Input channels and mix masters may be assigned to
these groups. Surface strips may be configured as DCA masters with the ability to
name and colour them for instant and error free operation. In keeping with the
flexibility offered by iLive, the DCA masters (and all other channels) may be
configured anywhere across the surface strips.
System Setup
The Touch-Screen provides access to the mix bus configuration and surface strip
assignment menus. You can configure the bus architecture as any combination of
groups, FX, auxes, mains and matrix for FOH or monitor mixing. The inputs, mix
masters and DCAs can be freely assigned, named and coloured across the fader
control strips and layers to suit your needs. In this way you can 'design' your own
console - just right for your application.
Scenes Shows and Users
One of the key reasons to use a digital console system is to be able to quickly recall the
mix parameters. The iLive Scene Manager is a powerful utility which lets the user
organise, store and recall snapshots of selected parameter settings. The scenes can be
named, have a description added using the on-screen keypad, and have their contents
viewed and edited using Touch-Screen menus. You can choose how much information
is stored in each scene, from just one or two parameters to all mix parameters. For
example, you may want to save just a selection of input channels including names,
colours and parameters for a particular band in a festival situation.
During the live mix, the operator can use the on-screen manager or enable the dedicated keys within the fader bank for scene
recall. The present and next scene are displayed at all times on the Touch-Screen, while a ‘scene safe’ feature is provided to
isolate channels from automated control if things change during a show. MIDI connections are located on both the Mix-Rack
and iLive surface for integration with other managed show devices.
The on-board iLive memory stores all setup information including mix bus assignment, surface strip configuration, the current
settings, all scenes and parameter libraries as 'SHOW' files. The 'SHOW' is the archive of all settings for ensuring the system
can be fully reset exactly as it was left. Previous shows may be recalled for use again in the future. The show manager utility
allows the user to name the memory and to copy/move the files to and from a USB key. Show files provide a quick way for
the new operator to learn iLive. Simply recall a standard 'template' as a starting point.
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.
The iDR10 Mix Rack
The iDR10 is the 19" Mix-Rack housing the iDR-64 DSP mix engine module, the heart of the iLive system, and the CPU
and RAB (remote audio) modules that manage the control and audio interfaces. It is the mixer itself, configurable and
controllable via Ethernet using an iLive surface or PC. Ten additional slot positions are available to fit the required
combination of input and output modules. Universal voltage power supply modules are fitted at the rear, with the second
supply acting as a redundant back-up. The iDR-10 is intended for live audio rental, touring and show applications. It is
supplied mounted inside a touring grade, shock-mounted flight case with lockable castors and removable front and back
The user has a choice of modules available to fit in the 10 available Mix-Rack card slots. The same modules may be
loaded into the 4 card slots on the rear of the surface:
8 channel XLR mic/line analogue input module
8 channel XLR line output module
8 channel (4 stereo pairs) digital input module - AES3, SPDIF, Optical
8 channel (4 stereo pairs) digital output module - AES3, SPDIF, Optical
Blank module
The RAB module provides the local headphones output and networked audio options. Up to two EtherSound (ES) card
options may be fitted. These replace the traditional analogue multicore for audio at the surface, communicate the PAFL
and talkback signals, provide mic splitting for FOH/monitor systems, and feeds to EtherSound compatible equipment
such as audio break in/out boxes, speaker processors and multitrack recorders.
Option 1 - No ES cards. No audio network. PAFL and talkback are connected using XLR cables
Option 2 - 1 ES card (ESA). Provides 64 channel CAT5 link for surface and break in/out audio (digital snake)
Option 3 - 2 ES cards (ESA and ESB). Adds system expansion (64 channel digital mic split or expanding to 128 inputs)
The Mix-Rack is well equipped for the stage environment
with a lamp socket for low lighting conditions, LED status
indicators for channel phantom power (local or remote),
mute and PAFL active (ideal for helping the stage tech find
the right socket!).
Control for the system is TCP/IP over Ethernet with an
integrated 3-port switch for connecting more than one
network controller, for example an iLive surface and a
laptop running iLive System Manager software. A PL-Anet
port at both the Mix-Rack and surface lets you use Allen
& Heath PL Series remote controllers to control certain
aspects of the system, for example personal monitor
mixes and triggering scene changes.
For PA companies, AV hire companies and audio system
designers needing a high degree of flexibility, iLive
provides a compact, modular set of components which
can be integrated easily with other control and audio
systems. Like its little brother iDR, iLive Mix-Rack will be
found in venues from clubs to stadia, theatres, multipurpose entertainment and conference facilities – in fact,
in any type of live music setting.
The iLive Surface
The iLive surface is the primary live sound mixing user interface for the iDR-64 DSP mix
engine. It connects to the Mix-Rack using CAT5 cables and is effectively part of the
distributed audio and control networks. It is supplied in a three-part, nose-cone, touring
grade flightcase on lockable castors.
All the control and system information needed by the live engineer is available at the
surface. There is a choice of surface size available offering 28, 36, or 44 faders. With 4
layers per bank of faders you get the choice of no fewer than 112, 144 or 176 control strips
freely assignable as input channels, mix masters, DCA groups and MIDI controllers. Even the
smallest footprint iLive-112 surface has enough capability to handle a fully loaded 64
channel mix.
Connections: The rear of the iLive surface has a built-in card frame for loading up to 4 IO modules, a combination of up to 32 inputs and
outputs, for local audio at the surface. The internal psu module may be supplemented with the rack mount iPS10 supply for redundant
backup. Connections include local monitor XLR outputs, 1/4" and 3.5mm headphones sockets, XLRs for an analogue PAFL monitor input
and talkback connections when EtherSound is not fitted, front and rear USB ports for memory archiving, and an external VGA screen
output. You also get a built-in 3-port Ethernet switch, MIDI and PL-Anet.
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.
iLive Surface
Control surface for the iDR10 Mix-Rack. The surface is shipped in a
three-part touring grade flightcase. iLve-80: 20 fader-strps / iLive112: 28 fader-strips / iLive-144: 36 fader-strips / iLive-176: 44
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.
Press SEL to select the channel processing. All controls are instantly available.
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.
Press MIX to access the assignments, levels and pan for each group or mix. Press an input
channel MIX key to view the sends from that channel on the related master faders, for
example to send a vocal to a combination of monitor mixes. Press the master MIX key to
view all the sends to that mix, for example when building an in-ear monitor mix.
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.
iLive is easy to operate:
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.
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.
iDR10 PSU (module option)
One or two psu modules may be fitted to the rear of the iDR10 MixRack
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.
Mix-Rack CPU module
Required for managing the Mix-Rack and interfacing the control from
the surface. It also provides additional Ethernet ports, MIDI and PLAnet interface. A lamp socket is included.
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
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
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.
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.
Line Output Module
8 electronically balanced XLR line outputs with Mute status LED, and
check LED for active PAFL per channel.
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.
Audio metering:
Additional functions:
Three formats simultaneously available:
AES3, SPDIF, Optical
DARS (digital audio reference signal) master clock
16 LED main channel/mix meters
Extensive metering on processing strip
Peak indication across fader layers
Dedicated PAFL meters
Dedicated touch screen meter mode
Audio networking:
Audio monitoring:
2x 64 channel bi-directional EtherSound networks
Compatible with standard EtherSound network devices
ESA for surface/breakout audio (replaces multicore)
ESB option for system expansion (FOH/monitor split, sys-link, multitrack)
Maximum CAT5 cable length 100m / 330 feet (depending on cable used)
Can work with third party optical fibre / dual redundant systems
2x headphone amps (mix rack and surface)
2x sockets on surface - standard and 3.5mm mini jack
Surface local stereo monitor balanced XLR line outputs
Surface stereo PAFL balanced XLR audio inputs
Select and listen to any point in the signal path
Input and mix PFL or AFL in-place selection
PFL overrides AFL
Cancel all PAFL function
Auto cancel or additive PAFL mode
AFL trim up to 12dB gain
Dual engineer’s monitor mode (wedge/in-ear systems)
PAFL indication at mix rack (CHK indicators)
Solo-in-Place with SIP safes
User assignable channel LCD names, 5 characters
User assignable channel LCD colours, 6 colours + off
Alt view channel LCD display / encoder function
Freeze in layers strip function
Assignable permissions for up to 8x users
User assignable meter screens
Simultaneous view of all graphic EQ bands on faders
Talkback assignable to any combination of mix buses
Internal signal generator:
Swept frequency sine wave, swept bandpass, white, pink noise
Copy/paste/reset editing of channel and mix parameters
Quick all channel mix assign and pre/post selection
8x assignable soft keys
Digital outputs (8x channel = 4x stereo pairs):
Distributed dual network audio and TCP/IP control
Separate DSP mix rack and control surface
3x surface sizes
Up to 64x input channels
Up to 32x assignable mixes
16 DCA groups
Up to 10x 8 channel IO cards in mix rack (80x in/out)
Up to 4x 8 channel IO cards in surface (32x in/out)
Surface strips assignable as:
Channels, mix masters, DCA masters, PAFL masters, MIDI controllers
One knob per function channel processing strip
Surface control:
iLive-80 (20 faders, 4 layers = 80 assignable strips)
iLive-112 (28 faders, 4 layers = 112 assignable strips)
iLive-144 (36 faders, 4 layers = 144 assignable strips)
iLive-176 (44 faders, 4 layers = 176 assignable strips)
Multi-colour backlight LCD virtual ‘write-on’ strip and mix status
Control strips – fader, pan, MIX, MUTE, PAFL, SEL, LCD, meter
Touchscreen with function keys
User assignable soft keys
Analogue style channel strip for instant access
Rotary controls with LED position display
Additional graphic display of parameters on touchscreen
Surface LED/LCD and touchscreen dim controls
Surface lock function
Analogue mic/line inputs (8x per module):
Digitally controlled preamp
ADC 24-bit multi-bit delta sigma
108dB dynamic range
Balanced female XLR, pin 2 hot
Impedance 2k ohm, >10k ohm (pad in)
Gain +10 to +65dB, -15 to +40dB (pad in)
Resolution 1dB steps
Pad 25dB
Maximum input +30dBu (pad in)
Noise EIN (150 ohm) -127dB
Module LEDs 48V, CHK (PAFL)
Analogue line outputs (8x per module):
DAC 24-bit multi-bit delta sigma
114dB dynamic range
Balanced male XLR, pin 2 hot
Impedance < 75 ohm
Nominal output +4dBu
Maximum output +22dBu
Residual output noise -94dBu
Digital inputs (8x channel = 4x stereo pairs):
Select one of three formats per pair:
AES3, SPDIF, Optical
Sample rate conversion selectable on each pair
Control (available on each mix rack and surface):
TCP/IP Ethernet – mix rack, surface, touchscreen
Integrated 3-port Ethernet switch
Maximum CAT5 cable length 100m / 330 feet
Can work with standard Ethernet optical fibre / dual redundant systems
MIDI (mix rack and surface)
PL-Anet for A&H PL-Series controllers (mix rack and surface)
Digital signal processing module:
48kHz sampling
24-bit, 48-bit data in EQ processing
System latency < 2ms rack in to out, < 2.25ms surface in to out
General performance:
Frequency response 20-20kHz +0/-0.5dB
THD+N < 0.004% (1kHz, mic +35dB to line out)
Channel separation > 95dB
Audio architecture:
Inputs can be stereo linked
32 mixes assignable as:
Mono/stereo groups,
Mono/stereo internal effects
Mono/stereo auxes
Main mix – M, LR, LCR, LCR+, LR+Sub, LCR+Sub, LR+M, LCR+M
Mono/stereo matrix
Inserts assignable on every input and mix
Patchable channel direct outs and bus in/outs
Switchable mono/stereo PFL or AFL
Audio routing:
Input virtual patchbay
Output virtual patchbay
EtherSound routing
Insert patchbay
User pre/post send and direct out options
Input channel processing:
Preamp – gain, pad, polarity, 48V
HPF – 12dB/octave swept 20-400Hz
Noise gate – threshold, depth, hold, attack, release, sidechain
PEQ – 4 band fully parametric, shelf selectable on HF and LF
Compressor – threshold, ratio, attack, release, auto, soft knee, gain, sidechain
Limiter/de-esser – threshold, de-ess frequency, sidechain with key filter listen
Delay – up to 170ms
Mix processing:
PEQ – 4 band fully parametric, shelf selectable on HF and LF
GEQ – 1/3 octave, 25 band, touch screen and fader control
Compressor – threshold, ratio, attack, release, auto, gain, sidechain
Limiter – threshold, sidechain with key filter listen
Delay – up to 340ms
Effects processing rack:
2x internal stereo effects (6x with processing option)
Output processing rack (option):
Provides more effects or output processing
Power supplies:
2x mix rack psu modules (Second for redundant backup)
1x surface internal psu module
Optional iPS10 2U rack psu for surface redundant backup
Mix rack power requirement 100-240V.AC, 47-63Hz, 320W max
Surface power requirement 100-240V.AC, 47-63Hz, 320W max
Temperature monitoring at surface of all supplies and circuits
Dimensions (Width x Height x Depth):
Mix rack 482mm (19”) x 400mm (15.75”) 9U x 350mm (13.8”)
Mix rack flightcase 643mm (25.3”) x 730mm (28.75”) x 669mm (26.34”)
Surface iLive-80 753mm (29.6”) x 353mm (13.9”) x 707mm (27.7”)
Surface iLive-112 1006mm (39.6”) x 353mm (13.9”) x 707mm (27.7”)
Surface iLive-144 1206mm (47.5”) x 353mm (13.9”) x 707mm (27.7”)
Surface iLive-176 1406mm (55.35”) x 353mm (13.9”) x 707mm (27.7”)
Flightcase iLive-112 1107mm (43.6”) x 1017mm (40”) x 452mm (17.8”)
Flightcase iLive-144 1307mm (51.46”) x 1017mm (40”) x 452mm (17.8”)
Flightcase iLive-176 1507mm (59.33”) x 1017mm (40”) x 452mm (17.8”)
iPS10 psu 482mm (19”) x 88mm (3.46”) 2U x 310mm (12.2”)
Mix rack 26kg (57 lb), 68kg (150 lb) in flightcase
iLive-80 39kg (86 lb), no flightcase
iLive-112 43kg (95 lb), 98kg (216 lb) in flightcase
iLive-144 48kg (106 lb), 114kg (251 lb) in flightcase
iLive-176 54kg (119 lb), 124kg (273 lb) in flightcase
iPS10 psu 6kG (2.7 lb)
Libraries – Gate, PEQ, GEQ, Comp, Limiter, De-esser, FX
Scenes – selectable parameters, safes, can be named
Shows – Configuration, current settings, all scenes, libraries
USB memory key library and show archive
* Not all the listed functions are available at first product ship. Some
functions will be introduced in planned future software releases.
** We reserve the right to make changes in the interest of further product
Mechanical Specifications
I/O modules:
8 channel mic/line input
8 channel line output
8 channel digital input
8 channel digital output
Mix-Rack psu module x2
Surface Layout
Flexible modular architecture . Ground-up design . Ethernet control .
EtherSound audio . Intuitive analogue feel . Small footprint .
“The new iLive affordable digital
console range with large scale system
distribution and configuration
possibilities now brings an intuitive,
analogue feel to digital mixing.”
t: +44 (1326) 372070
Allen&Heath reserves the right to alter any information supplied in this document or any other
documentation supplied hereafter.
AP6447 ISSUE 2