The T-Series is the latest addition to the growing iLive family of digital consoles. Within the T-Series family, there are two different control surfaces, the T-80 and the T112. Both control surfaces are accompanied by two different MixRacks named the iDR-32 and iDR-48. The system that I was sent to review was the T112 surface with the iDR-48 MixRack.
The Gear
The T80 and T112 surfaces are very similar. Really, the only big difference between the two is the number of faders and the number of audio connections on the surface itself. The T80 has 20 physical faders, four TRS inputs/outputs, two sets of RCA inputs/outputs and one S/PDIF input and output. The T112 has 28 physical faders, eight TRS inputs/outputs, four sets of RCA inputs/outputs, two S/PDIF inputs and one S/PDIF output. Both of these control surfaces have a monitoring section, which includes a 1/4" and 1/8" connector for headphones. Other physical functions include a scene management section, GEQ fader flip and a channel strip section on the top with pre-amp, high pass filter, PEQ, compressor, de-esser, gate and limiting functions. A touchscreen is built into the surface of the console, as well as a VGA port on the back to add an external monitor. (For those who have never used a "fader flip" function, when engaged, it turns the channel faders into a great big graphic EQ. You make your adjustments to the EQ on the faders and then disengage the flip, and the faders go back to being channels. It's kinda cool.)
The iDR-32 and iDR-48 MixRacks are very similar to one another as well. The iDR-32 comes with 32 XLR inputs and 16 XLR outputs, while the iDR-48 comes with 48 XLR inputs and 24 XLR outputs. Both feature the same 64 channel x 32 bus DSP mix engine. The control surface is connected to the MixRack via a Cat5 cable and operates on a network called "ACE." Processing is done at 48kHz and audio is converted by delta sigma 24-bit converters.
Now let's take a look at the software side of things. One of the features I like about this console is that it has a graphic equalizer standard on every output. It's nice to not be limited with graphs when every output is being used. Other standard functions included on every output are a PEQ, insert capability, compressor, limiter and delay.
Some other standard features to this system include eight stereo FX engines. Within these FX engines are a plethora of simulated reverbs, delays, chorus, flangers and Hypabass. Another thing I liked is the way the channel strips are laid out. The color of any channel strip can be changed to match with groups of inputs, making an engineer's life a lot easier.
Before we move on to the actual gig, let's take a step back. The iLive system was really the first to adopt a modular approach (something that we now see several other console makers moving towards). Control surfaces and MixRacks (I/O and processing) can be "mixed and matched." If you have a smaller T80 surface and need more inputs, you can get them by upgrading just the MixRack and hanging onto the console. Or the other way around, if you need more physical controls on the same channel count. It is an approach that makes a lot of sense.
The Gig
When asked to do the review on this console, I had a nice easy show picked out for it – or so I thought. I have worked on a series of jazz concerts for the past couple years which are typically pretty simple. Usually, the acts have what you would expect for a jazz combo – drums, bass, guitar, maybe a horn or something, and a vocalist. After I had already committed to doing the review on this console, I found out that the act had a bit more than the usual three-piece setup. It wound up being the usual amount of inputs, plus a string section, horn section, percussion and a harp player. This all amounted to 40 inputs, whereas the other shows were typically less than 20. If that wasn't enough, the musicians showed up for soundcheck after some of the audience had already arrived. What that meant was that they only wanted to do one song for soundcheck. That was pretty much a line check, so a board with flexibility was needed to quickly dial everything in on the first song during the show.
Before load-in, I briefly spent some time hooking the mixer up, just to make sure I understood the routing and how to get sound out of it. I was very surprised that it only took me about 20 minutes to get the gist of how this console operates.
Load-in was the day before the show and, as usual, we made sure everything was working. As soon as we had the PA flown, I had pink noise going everywhere and things were just peachy. So I covered the console up and left for the day.
When I arrived to the show, I did notice that the console had a bit of direct sunlight. It wasn't a hot day (maybe around 85 degrees F.), but in Vegas, the sun is what kills gear – heat is just an added bonus. So I took the cover off of the console and noticed that some of the adhesive on the control surface had caused the surface to bubble from the sun. With that said, the system did perform flawlessly throughout the whole day.
One thing I loved about the T-112 is how visible the channel strips are, even in the brightest sunlight. The colors disappeared during the middle of the day, but I was never struggling to see the channel strips at all.
(According to an A&H rep, the unit we were sent was "pre-production," and the adhesive issue has been addressed. In other words, it should no longer be an issue on currently-shipping units.)
My only other issue was the placement of the scene change controls. Maybe it is just me, but they were right where I normally have my hand when in the "rest" position. I had to be very careful not to change scenes when I did not intend to.
(After the review show, I found out that the buttons are there for a reason-"quick-fire" theatre applications-and can be disabled and scene changes done via the touch screen instead.)
The overall sound quality was very nice, which made the mix come together very well. I have always been a big fan of the Allen & Heath EQ, and this console is no exception. I got the chance to try out some of the reverbs, and they sounded fairly good as well.
The T112 was pretty easy to maneuver around. Mixing 40 inputs on the fly is no easy task, and a console that's easy to get around makes a world of difference.
Allen & Heath iLive T Series
What It Is: Flexible digital mixing system consisting of "mix and match" mix engines and control surfaces.
Who It's For: Growing venues and soundcos and anyone else needing flexibility coupled with an intuitive interface and good sound.
Pros: Graphic EQ on every output; highly visible channel strips, even in the bright sun; small footprint; very light weight
Cons: Surface on pre-production unit bubbled from sunlight.
How Much: $21,999 (MSRP).
