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Well let’s be fair, 90, probably 95% of musical acts don’t care that much. The difference between an m7 and an iLive are noticeable to US, but at a Gym Class Heroes concert is anyone really going to be able to tell? Anyone in the audience?

I think you’re right that, for a lot of people and a lot of groups, having a sound console that works is plenty. And honestly, I don’t disagree. I work with bands at our college, and other forms of live entertainment, but if we were doing theater shows there’s no what I’d have chosen an iLive console, the scene management is just too… well we all know what I mean. It’s a system you have to work with, as opposed to a system that works with you. (just to be clear, I feel the oposite way when mixing bands, ilive is the fastest and most flexible system i’ve used for bands, but that falls apart for pre-programmed shows)

So let’s be honest, if you have to chose between how well it works for your application, and how well it sounds for your application, the lot of us will chose the first every time.

I work two jobs, but my boss at the conservatory purchased an m7 three years ago, he’s been mixing for 30 years and is regarded as excellent recording and live sound engineer. He’d never heard of the iLive system before I showed it to him. Now he wants one.

So when you say people are more worried about ‘linking faders and ipad hookups’ some of that might be true, or that might just be the case because they’re not spending all of their time turning aux buttons or hitting mute groups or hauling 500lbs of snake.

iDR-48, T-112, Mixpad