Hi, Need some advise

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This topic contains 2 replies, has 3 voices, and was last updated by Profile photo of mjpruzin mjpruzin 14 years, 8 months ago.

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  • #22197
    Profile photo of assafg

    Hi all,

    First let me say that we own an iLive112 + IDR10 and an iLive112T+IDR32
    and we are very pleased with both of them.
    Now we would like to use them together in a FOH/Monitor configuration as seen in the “understanding Ace” document.
    the iLive112 is from march 2008 and has no RAB2 or ACE cards.
    Can you please advise me on :
    1. what cards should we add to which desk ?
    2. How is the gain being controlled in this configuration ?

    Thanks allot,


    Hi there.
    There are several ways to link the audio (including mic preamp splits) digitally between two ilive systems.
    To do this you need to link port-B (expansion) ports.
    on the iDR-32, and iDR48 MixRacks this is the only option slot on the rack.
    on the iDR10 amd iDR0 MixRacks, there are two option slots on the RAB.
    the upper one is port-A (surface to Mixrack audio), and the lower one is port-B (expansion).
    You can choose what format you need to do the audio link between consoles:
    in each case the link is capable of <64 channels two-ways.
    the signal sources can be chosen from the patchbay and settings saved in scenes for flexibility. Typically these will me Mic preamp splits (known as MixRack inputs), or channel direct outs (can then be pre/post EQ, fader etc).
    With the M-ACE option you can use 1 cable for bi-directional audio or add a second cable for redundancy feature.
    To fit M-ACE to your iDR-32 you take off the blanking plate and push the card in (with the power off!) and secure with the two screws.
    for the iDR10 you need to upgrade your RAB1 to RAB2, adapt your EtherSound AVD module to fit with the M-ES-V1-BASE kit (for your surface audio) and fit M-ACE to option Port-B.
    You run the iDR10 system as the MASTER, set port-B outputs to be ‘MixRack Inputs’ to get the digital mic preamp splits.
    The mons system is run a Slave; sync is set to external (via Port-B) abd you can easily set all input channels globally to recieve the signals from Port-B (as opposed to the local XLRs etc).
    The first system has control over the analogue mic preamp – once this is in the ball park (after soundcheck?) then that surface can be switched to ‘Show Trim on Surface’ This way you now have +/- 24dB of trim (using the same preamp control knob) and this will not affect the split out to monitors. In the slave T-system, you will also have +/- 24dB of trim for the inputs, and of course completely independant channel processing, FXs, buss structure, library and show files, and editor control if desired.
    NB the two systems do not ‘talk’ control between them – they are two seperate consoles with an audio ‘bridge’.
    At any time FOH can ‘tweak’ the analogue gain if needed, by going to the preamp page on the touch screen and highlighting the analogue mic pre and adjust with the screen rotary [could also be done using editor software too]. obviously this would affect monitors too but that would have to be discussed over comms etc).

    Hope this helps


    Profile photo of mjpruzin

    I achieved this via the direct out method. I work in theatre and setup our orchestra pit in a remote location (or fully covered pit). Currently I use an IDR32 in the pit and setup the preamps locally and send the direct outs immediately post pre-amp to my IDR10 via the Port B link using ACE cards (your IDR10 will definitely need a RAB2 card, and you will need the M-ES-V1-BASE as previously mentioned. The swap is easy, anyone who’s ever replaced a PCI card or RAM in a computer should be comfortable doing it). I set pre-amps and all monitors with the band via editor as we do not use a monitor surface (or engineer) and then move to FOH to set up my house mix. I keep a laptop running editor over the network at FOH in case I need to make a pre-amp adjustment during technical rehearsals. Of course the FOH surface has its own trim control, but I keep the editor open just in case we discover that the drummer’s foot on the kick wasn’t quite as strong during the initial sound check or the base player decides that he’s not slapping hard enough. This has worked for me on our current production, although our system is fairly new and I’m still learning so whether this is the best method I cannot say, but I can say it works great for me. I’m with you…these systems are great!


    M. Jason Pruzin
    Sound Designer/Engineer
    Arkansas Repertory Theatre

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