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the white paper is about converter latency, not processing latency. A plug-in from a sequencer will always report its latency in samples, and this does not change with samplerate. This means double samplerate, half latency. I would just suspect the same behavior from processing in a digital desk
this would also explain why most desks out there are not phase coherent, when introducing parallel processing. More processing – more latency.Congratulations guys.
This has to be the most interesting thread for ages!
My head was spinning just reading what you guys have writen.
I had to sit down for a minute.
This is what forums are for!
I notice that none of the A&H guys have dared to chip in….but I bet they
Are watching.
JimR72 & IDR32
MacBook proThough it seems people have taken it that way, I’m not particularly interested in wether the iLive system does 96k og not. 48 is fine by me. This is certainly not where I meet the limitations of the system. My wishes would be:
1. A better compressor. The current one is extremely flexible of course. Sidechain, int SC, Multiple algorithms, release time in dB/s, blend. All I really want is a more simple compressor, that sounds more “right”. The Vi desks have the most simple controls, and the best sounding compressor on digital desks. The iLive’s compressor is one of the reasons I find many new techs have a hard time “getting there” quickly, when they first meet the system. Simplify the controls, improve the algorithm(s). Peak and RMS is more than enough, if the basic sound is good! And give us a proper release parameter, milliseconds like everyone else.
2. The Limiter is now useless, and completely opposite of the compressor. No control at all. It is way too slow, obvious, and at it’s best it can be used to squash a DJ from smashing everything red. I really don’t understand it’s purpose.
3. Better feeling build quality of surfaces. They are simply too expensive for the kind of feel you get from a T surface or R72. Even the GLD is already much better, while not very good. I don’t think there’s anything wrong with the build quality as such, but the look and feel is really not impressive. If you wanna play with the big boys, this should be addressed, though some of course will think that sounds ridiculous.
4. Lower noise floor, I really agree.
5. MUCH better startup and loading times.
6. an even better de-esser. Maybe the ability to apply broadband reduction, or a Q function.
7. More FX slots, and the ability to return outboard FX to FX returns instead of input channels.
8. Keep being totally awesome at an affordable price!! [
][8D]
some ideas:
– sidechain for dynamics in inputs AND busses, with flexible routing from all inputs and all busses
– a ducking-function in busses, with sidechain and with adjustable max. depression.
– possibility to insert channels, when a new channel must inserted in an existing channel-list (inclusive preamp-gain!).
not long ago, I must insert an additional tom-channel – and move all 30 channels behind them, per copy and paste preamp, channel processing and mixes = 90 actions = what a stupid job, and not one mistake is allowed!
ok, in livesituations I can simply insert a channel from anywhere to the new position on the surface. that´s easy. but for coming events, I need a correct channel-list, I´m a german– possibility for quick safe channel-functions in more of one scenes (for example when another bassplayer will be integrated in a musical-band)
– a parametric-EQ section with 6 bands.
the lowest an the highest band can used as locut/highcut/bell/shelving-filter. this EQ is for outputs – and for inputs(!) and give us a maximum of flexibility.
why? all desks in this world have a 4-band input-EQ, whitch is in 99% functionally adequate. but, is this really necessary forever? sometimes, I need an additional filter for example for feedack-reducing in critical live-situations, or a locut, 4 band-EQ and a highcut in a channel.
maybe, the hardware-EQ buttons can have the normally 4-band EQ for better overview, and the additional filters can be used per touchscreen.
I think this can be an innovation in mixerdesign – and an unique selling point!– automatic-mixer function to integrate the iLive in fixed installations, or for better handle double microfone-installations at lectern-situations (witch is mostly uneffective, but sometimes the customer needs it for different reasons)
– two screens for jobs with two technicans in the same time or for better overview.
– screen with overview of all dynamic-LEVELS (gates, compressor, limiter/deesser)
– don´t forget: the screen must have a good visibility also in open-air requirements.
– like “vilddyr”: a better control for the limiter and deesser.
– like “vilddyr”: a better quality for the surface, please!– dynamic-EQ as alternative compressor-function in input-channels.
– Dante network inclusive gaincontrol. i think this is really the future.
– gaincompensation for FOH + MON systems.
– a much faster boot-time
– much faster scene-safe and -recall (for complete scenes)
– more FX-blocks, and with a distortion-FX! – sometimes the iLive sounds too clean
– samplerate:
48kHz is IMHO good enough for live-situations. I have no problems with it. the latency-time in the existing iLive is very good!
but: why not, with 96kHz we get a latencytime like analogue desks?
maybe you can make a switch between 48k and 96k?oh, this is a long list… sorry.
and now: I hope you can understand my englishfull carbon surface!!!![
][][]
digico and all the others are still way to heavy.
i already love it now moving the console around,
in case there are not as many people coming as expected-go where the crowd is – besides single channel delay sone of the main advantages of
light weight console (rember the days with the monster muco 20 external effects e.t.c.)cheers
daveallways latest firm and software
iLive-144/t-80/idr-10 /idr-48/dante/pl-6/eyepad 1/belkin router/
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