How do you setup your surface

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This topic contains 10 replies, has 11 voices, and was last updated by Profile photo of parsen parsen 11 years, 9 months ago.

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  • #23150
    Profile photo of dshriver

    The advantage of a fully customizable fader bank is that it offers great flexibility to the setup. I’m curious how some of you routinely setup your strips.

    Here’s what I do on my T112(usually):

    Layer A 1-12 Input Groups and DCAs
    Layer A 9-24 Input Vocals (or other “money” channels)
    Layer A 25-32 Monitors and Main output DCA

    Layer B 1-24 Inputs
    Layer B 25-32 FX 1-4 and IP FX 1-4

    Layer C 1-12 More inputs
    Layer C 9-24 Local board inputs (CD player, iPod, Talk Back, etc)
    Layer C 25-32 FX 5-8 and IP FX 5-8

    Layer D 1-12 Outputs, Output Matrixes
    Layer D 9-24 House Recording mics
    Layer D 25-32 DCA mute groups

    I spend most of my time in Layer A which gives me my input groups, vocals, monitors and main DCA. I switch the right hand bank to the FX on layer B and C as needed, and drop down to layer D when I need a mute.

    Layer B is my input channels and where I control the balance in my groups

    Layer C is even more inputs and the local inputs to the board

    Layer D is my outputs, and is seldom used. It is also my audience and other recording mics.


    Profile photo of gilparente

    On most of my installs, because of the unfamiliarity of the console for the client, my set up is usualy this:
    Layer A:
    Inputs 1-20 , DCA 1-8
    Layer B:
    Inputs 21-40, Sends 1-8
    Layer C:
    Inputs 41-64 (some stereo), Matrixes and Mains
    Layer D:
    Fx returns, FX sends

    Then, ill let them change it up to taste.

    Gil Parente
    Design & Integration
    Entertainment Arts, Inc.
    iLive 176, T112
    iDR48 , iDR16, iDR10
    Multiple iPads

    Profile photo of riggs1963

    I do the same as Gil but have FX on layer C and Masters on layer D and Ch 49-64 on layer D




    Profile photo of AndyCZ

    I specialise in theatre, so my usual setup is as followsL:

    Left hand bank: Inputs

    Usually the top two layers for radio mics, the bottom two for band/orchestra (or a expansion/contraction of this arrangement depending on the requirement)

    Middle bank, top layer: Any fader that is pertinent to the current scene, eg radio mics, DCAs, PC playback, etc.

    Middle bank layer B: DCAs – Usually split into Drums, Backline, Reed section, Brass section, Strings, Keyboards. Then a DCA master for all music, and one for all vocals.

    Middle bank layer C: FX sends
    Middle bank layer D: FX returns

    Right hand bank, top layer: Main outs (LR, LCR or LCRSub) plus recording group splits

    Right hand bank remaining layers: Aux outs

    My workflow thus is left to right on the surface. From scene to scene, the only things I usually change are fader levels, mutes, panning, DCA assingments and Fader Strip assignments.

    Profile photo of abstractnoise

    T80 user here, essentially a fixed install in a church:

    Bank 1:

    A: 4 x handheld vox mics, 4 x headworn speech mics, lectern speech, AV1 (stereo), AV2, CD(Stereo)
    B: Kick, snare, OHs’ (stereo), Tom1, Tom2, Tom3, <GAP> Bass, EGtr1, EGtr2, AGtr1, AGtr2
    C: Keys 1, Keys 2, Piano (stereo), Violin1, Violin2, Viola, Cello, DBass, Oboe, Clarinet, Sax, Flute,
    D: 4 x handheld vox mics (duplicate) <GAP> 4 x Choir mics. – duplication here allows singers and choir to be easily balanced together.

    Bank 2:

    A: DCA’s for: Drums, Bass, Guitars, Keys, Strings, Wind, Vox (singers, inc choir), Band (all instruments)
    B: Monitors 1-8
    C: Loop, Overflow, Recording and 100V line aux mixes <GAP> Reverb FX, Delay FX
    D: <GAP> – available for customisation.

    Not strictly layout, but might help explain logic:

    Masters and matrices are hidden to help protect system EQ/delay/limiting, but accessible to those who know what they’re doing. Speech and playback wired straight to Master mix, no DCA. Band/Vox muting and levelling by “master DCA’s”.

    Those of us with in-depth knowledge of sound/iLive will tend to customise for events much different to the normal Sunday services, otherwise the defaults as above give us a working mix within minutes of everyone showing up, and everyone knows where to find things.

    First thing when arriving at a new rig is to hit the “defaults” softkey to recall a default scene, and plug in/unmute/customise/mix from there. Hit “defaults” when done, and the system is reset with all inputs muted ready for the next job.

    Muuuch quicker than the old 32ch analogue with input/output patchbay it all replaced…

    Work web:
    Home web:

    Profile photo of mumu

    i have surface only scenes ready for unfamiliar users basic is:


    layer d is my channel split for monitors

    works pretty good
    with anything else (groups/dca and such) i wait till it is requested


    allways latest firm and software
    iLive-144/t-80/idr-10 /idr-48/dante/pl-6/eyepad 1/belkin router/

    Profile photo of Robert

    My setup on t112 is

    left bank
    A inputs
    B inputs
    c not used
    d not used

    middle bank

    A inputs
    B stereo inputs cd/pc ..
    D corporate event stuff video inputs…

    Right Bank
    A efx returns
    B efx Masters
    C AUX Masters
    D group, L+R+M
    1x T80
    2x iDR32
    desktop+2x RME HDSP MADI
    Macbook Pro,2x Macmini+DVS
    evolution of SOVIET TANK

    Profile photo of dnxmirrorsounds

    Excellent topic and particularly interesting is why people choose the layouts they have.

    We are also a fixed install at a church with a T112. Different engineers have different layouts, some prefer to mix on DCAs and others in other ways.

    My latest iteration, in which I have been reducing my dependency on an outboard Behringer BCF fader module attached to an editor (for extra Fader control) is as follows.

    My concept is to be able to have everything available somewhere and to have in one layer (Layer D): all the things I immediately want to access as I mix. This isn’t totally possible e.g. FX + all the channels so I mix up my compromises to see what works for me this month :)

    Furthermore, I aimed for a Right Master config so outputs are in the Right banks making it easier for sound checks and FX changes

    So Layer D (My mix layer) has:

    Left : Bass | Drums | guitars and Keyboard DCA
    Centre : BGV DCA | Frontline Vocals | Wireless Mics
    Right : immediate access vocal FX e.g DDL, main outs & FOH Matrices

    The other layers which have the fuller lists are:

    Layer A

    Left :Bass, drums & MD mic for band IEM instructions
    Centre :Gtrs, keys
    Right :AUX – IEM

    Layer B

    Left :Vocal channels (6xBGV, 6xFrontline)
    Centre :other vocals e.g. Keyboards, wireless, headsets etc
    Right :AUX – foldback speakers, production talkback feed, OB etc.

    Layer C

    Left :DCAs (not mutes)
    Centre :FX returns
    Right :FX sends

    Soft Keys have mutes:
    1 – Drums mute DCA
    2 – bass Mute
    3 – Acoustic Gtr Mute
    4 – Keys Mute
    5 – BGV Mute
    6 – Frontline vocal Mute
    7 – vocal Group mute
    8 – MIX select Main L (with a light so I can check I am going to change my FOH mix not someone’s foldback !)

    Duncan Whitcombe
    Mirror Sounds & metrochurch
    Perth, Australia
    T112, iDR48x2

    Profile photo of kentlowt

    I am afraid my layout might not translate well.
    Layer A Instruments are grouped by type with a DCA right next to each group Guitars,DCA,Keys,DCA,Horns
    Layer B Drums & percussion
    Layer C copies of a few of Bank A instruments with different processing and open channels
    Layer D Playback channels and open channels

    Layer A Horns DCA, Vocals with a DCA next to them followed by DCAs for drums/percussion(stuff buried)
    Layer B Aux channels
    Layer C effects
    Layer D effects

    Layer A other voices a few DCA (for various purposes) a couple of effect controls for whatever is needed, mains(usually ganged so I only need one of them)
    Layer B The rest of the Aux channels
    Layer C any other DCAs and anything else not commonly used.
    Layer D Matrix and a complete set of main controls.(feeds to delays etc)

    For me I like everything I am going to use a lot on the top(and not always in numerical order) the rest I prefer to bury them. Makes it easier for our volunteers in our setting. Since it is highly customized I doubt you could or should make a template based on it.


    Profile photo of theWhiplash

    Mine for my band is set almost like if it was an analog desk.
    A Layer 1 is Drum kit, Bass, sax
    A Layer 2 is Keys, Gtrs, Vocals
    A Layer 3 is iPod, Video/computer, extra RF/MC mics

    B Layer 1 is FX returns (6), and L/R/Sub
    B Layer 2 is VCAs
    B Layer 3 is FX Sends

    pretty straight forward–all Inputs on left and all outputs on right (for the most part)

    Matthew Grunden
    Big Daddy Weave
    iLive T80/IDR32

    Profile photo of parsen

    This is my typical set-up on the T112 which gives me lots of flexibility…

    Layer A: input channels 1-12
    Layer B: input channels 13-24
    Layer C: input channels 25-36
    Layer D: input channels 37-48

    Layer A: L,R,SUB,Matrix(front fill), Matrix(delay stacks), Matrix(spare), input CD, IEM master
    Layer B: sends to 8 FXs
    Layer C: returns from 8 FXs
    Layer D: DCAs

    Layer A: IEM mixes on stereo auxes
    Layer B: sends to 8 FXs
    Layer C: returns from 8 FXs
    Layer D: DCAs

    You will notice that layers B, C and D on the Center and Right Banks are the same. I find this very useful for facilitating workflow during a show.

    best regards all,


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