iLive T series pricing & marketing

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This topic contains 4 replies, has 5 voices, and was last updated by Profile photo of Rui-Miguel Rui-Miguel 11 years, 6 months ago.

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    Profile photo of tk2k

    So this is less of a technical question and more of an observation based on the US market.

    About eight months ago I began looking into digital audio consoles. For this organization (higher ed events support) budgets aren’t easy to come by, so this constituted a considerable investment. I also work with the recording department at our music conservatory (which is very well off) and three years ago they had purchased an M7CL. It has been a fine console, but it wasn’t quite what I was looking for, and had a bit of a cumbersome workflow. Before our budget had been set, I looked into a GLD system and found it nice, but lacking the I/O we required.

    When our price point was set at ~20k, it was almost assumed we would be getting an M7CL-48ES. Remote I/O was important to us, and the SC48 Stagebox came in several grand above our price point, not including case or cabling.

    Long story short, I took another look at Allen and Heath and discovered iLive. For just under 21k we were able to get a T112, iDR48, flight/road cases, 200ft of cabling, littlelites, power distro, and a few other basic accessories.

    Today, I heard a friend talking about the new CL3 they were about to order, and how it, with remote I/O, and flight case, was “a steal” at $29k.

    What I have come to love about iLive is that it is not locked down, it is not neutered just because of your control surface, and it has plenty of DSP power to spare. I was working on an LS9 yesterday and discovered individual matrixes cannot be recall safed, only all or none. Why? Because the board costs less.

    So first: Thank you for making one of the most impressive values in live sound today, hands down.

    And second: I fundamentally don’t undersand why the pricing is so low. I get all the major trade magazines, there are no iLive ads I mention the system to engineers who have been working in the US for 20 years, they’ve never heard of it. I think most of us would consider the T series underpriced, but I would gladly have paid 7% more for the console in exchange for future developments. Even enhanced marketing so I have less trouble with rider acceptance (which usually amounts to ‘i’ve never heard of that, i’m going to assume it’s bad’)

    Again, thank you for making such a fantastic product.

    Profile photo of Mr-B

    Purely subjective and I am sure my betters will argue but I am convinced the head amps sound much nicer than a few others I could mention[:D] The desk may be too cheap but don’t tell everyone or the prices will rise.
    Did a show the other week, soloist playing Violin, So DPA microphone,iDR10 head amp, PFL the channel and What joy just superb.
    Oh the Violin, well made in Cremona in 1694 by Antonio Stradavari need I say more. It was an absolute pleasure to be recommended.


    Profile photo of Albin

    The “T” Series is not build very well – it has an cheap touch.
    If you go for an Modular Surface and IDR, then the price is higher.

    So i dont think the price for the “T” Series is to cheap.

    Its a very fair price and its a very good product, but not too cheap.

    Profile photo of vilddyr

    I agree Mr B. It is certainly cheap, but the build quality is equal to the price. Really I was quite disappointed with the feel of my R72, but as you start using it, you learn that it sounds like it should, and that becomes your point of focus. But really, I think the T surfaces should be half the price. The Mixracks on the other hand, I wouldn’t mind paying a bit more to get :)

    Profile photo of Rui-Miguel

    Hi, I do agree with what you guys are saying, the good and the bad.
    With bad I refer to the poor build quality of the T series surfaces.
    My T112 may not survive the summer because the plastic cover is peeling off with the heat and direct sunlight. I know it’s an English desk, where these are not main concerns, but in Portugal, it sucks…
    However, sound… that’s something else.
    We were hired to provide sound support for a series of rehearsals a big Portuguese band were doing for a show with a military band playing along. They needed to rehearse the arrangemnts, timing, etc… Not a big budget, so ask the little guys.
    We came in with ou T112, and their sound tech, a very well respected professional in our country, didn’t know the desk.
    I offered to baby sit, obviously, but after 10 minutes he dismissed me. Quote: I can take it from here, it’s a very simple desk.
    He then took 15 minutes with a SM58 doing some adjustments to the main EQ, and I asked him if there was a problem and he looked at me, with a very susprised look and said:
    Are you aware that these is a very precise Equaliser on the Desk? I mean, we change a frequency and you hear the precise change coming out on the speakers. How much does this cost again???

    Also, did an event where the tech guy was a “strictly analogue desk for me” but, hey this is what you have. again, 5 mnts baby sitting and he went on to mix the show. After the show I ask: How do you feel about the desk? and he says: Can I take it with me?

    These things happen on a regular basis but still they say…OOHHH you don’t have a DIGICO, or at least an M7CL?

    Surface: T112 / T80
    Rack: iDR48 / iDR16
    PC: Editor 1.83
    iPad2: MixPad

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