NEW ZEALAND'S NOISE PRODUCTIONS GOES DIGITAL WITH ALLEN & HEATH iLIVE
4 February 2008
(Wellington) - New Zealand's Noise Productions Ltd has added an Allen & Heath iLive digital system to its hire stock, comprising an iDR10 stage rack loaded with 64 inputs and 32 outputs and an iLive-112 control surface.
Wellington-based PA company Noise Production have added the Allen & Heath iLive digital system in response to the developing live music market in New Zealand.
“For our first outing, we decided to give iLive the ultimate test, to see how quickly you can set up and use the system in a real world situation with no prior experience,” explains Noise Productions MD, Toby Mills. “It was very straightforward and took only a short while to configure the inputs, outputs and routing, as well as getting the FX engine up and running. As a bulky snake and outboard patching are not required, regular set up times are significantly shorter than with an analogue system.”
The system debuted at the show of international theatre singer, Rob Guest, who holds the title of playing the Phantom of the Opera for a record 2000 shows in the Australian production. Mainly a solo performance with piano and guest appearances, it was a relatively simple set up but with challenging musical dynamics and uncompromising monitor requirements.
”During the show, I was able to move from thinking about routing into mixing mode and this is where it got fun. The iLive really is a sound engineer’s desk; there are no tricks or traps, every button and function just works the way you would expect it to work on a large format analogue console and outboard system. The mix was very clean and the built in reverbs are absolutely stunning,” continues Mills.
Satisfied with the system, Noise Productions employed iLive on New Year’s Eve for an 8000-capacity outdoor concert with a line up of several bands, culminating in a complex international percussion act called Strike System, comprising more than 100 percussion instruments suspended on three 3m² rolling scaffold rigs. iLive was complemented by a Proel Edge speaker system and MC2 power amps. The total channel count for the night was 64, with a total of 81 microphones, 58 for Strike and 23 for other performers. The iDR10 was also used to split selected inputs that were assigned to 24 direct outputs, fed straight into an Allen & Heath GL3800 on monitors. This greatly simplified the monitor split as no analogue splitter was required despite the fact an analogue console was used for monitor mixing.
”iLive’s channel PEQ is musical and very natural sounding, unlike some digital systems that sound like a saw cutting through your source. The frequency selectable compressor is also a great tool as it allows you to dial in and compress a frequency that is only causing problems at higher levels; that’s a great feature as it avoids cutting those frequencies with EQ, which are often fine at lower volume levels,” concludes Mills.
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