Continuing his run of sold-out arena shows, Scottish singer-songwriter Lewis Capaldi is taking on the world one show at a time, with an Allen & Heath dLive mixing system covering FOH and monitor duties.

Capaldi made history by becoming the first ever artist to both announce and sell out an arena tour before the release of his album, which went on to become the UK’s best-selling record in the past five years and gained him global mainstream success throughout 2019.

“In early 2019 we were looking for an audio package that was powerful, flexible and compact enough for us to use on every show, be it a Lewis headline as part of a tour, or a run of overseas festivals where space, weight and set-up time were at a premium,” said FOH engineer, Andrew Bush.

Supplied by Glasgow-based audio hire company, FE-Live, Capaldi’s full arena set-up includes two dLive S5000’s on both FOH and Monitors, paired with a DM64 MixRack (monitors) and DM0 MixRack (FOH). Additionally, Bush utilises two DX32 expanders for further I/O.

Prior to upscaling the surface, Bush originally opted for a smaller dLive Wings rig, which is now used for fly-in dates and comprises a multi-surface set-up with two C1500’s and a DM48 MixRack. “The combination of two C1500s and a shared DM48 easily satisfied the initial criteria and we have since moved our show files to two S5000s for our current US/EU/UK touring schedule,” explained Bush. “The transition between surfaces was easy: the dLive software is identical regardless of the stage box or surface, so moving from C1500 to S5000 was simply a case of reorganising the fader layouts.” Bush also uses a Dante card (fitted to the surface) for virtual sound-check and recording each show.

Both Bush and Lawrie make full use of dLive’s built-in FX and onboard DEEP processing features, particularly when it comes to Lewis’ vocals – “Lewis has an incredible voice, but the first time you mix it, it’s terrifying! Lewis can go from head-voice to chest-voice in a matter of seconds and so I use the Dyn8’s multiband compression and dynamic EQ, which is a complete godsend and allows me to quickly even the mix out where needed. I also love the routing options with dLive and being able to double bus, it just means I can just refine my mix more and get a really even sound at the end,” said Lawrie.

Despite almost finishing the US and European leg of the tour, 2020 will see Capaldi perform to over a quarter of a million people during his UK and European headline shows. Bush added, “In terms of the shows, they’ve added so much since the start of the year and they’ve increased in scale and capacity as we’ve had to try and keep up with Lewis’s trajectory. It’s really shown us that dLive can definitely handle the demanding needs of this tour, while providing class-leading tools and studio-quality sound.”

www.allen-heath.com

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Allen & Heath has announced its new 96kHz digital mixer, Avantis, the third to be based on the company’s XCVI FPGA engine.

Avantis is a 64 channel/42 configurable bus console, with twin Full HD touchscreens, extensive I/O options and processing from the company’s flagship dLive mixing system.

“Joining dLive and SQ, Avantis completes our trilogy of next-gen 96kHz consoles,” said Rob Clark, Allen & Heath’s managing director. “Avantis takes many of the features that have made SQ and dLive so popular, putting them in a standalone 64-channel mixer that offers a new UI experience, connectivity with our Everything I/O ecosystem, and the dPack option which gives you access to our advanced dLive processing options if and when you need them. On top of that, we’ve taken a new approach with the industrial design, coming up with a full metal chassis that’s super-strong, lightweight and looks fantastic.”

“Having two touchscreens isn’t a new concept, but we realised we could use it to unlock exciting new possibilities, which led us to develop Continuity UI,” added Andy Bell, Allen & Heath’s R&D director. “Within seconds of getting hands-on with Avantis, engineers are going to appreciate the seamless flow between the physical controls and the on-screen software. You can work gains and pans on the rotaries, then at the touch of a soft key switch to EQ or dynamics across the whole strip. The console also provides a highly configurable FastGrab tab on the right-hand side of each screen, offering another way to quickly and easily access control of aux sends, EQ, compressor and FX on the currently selected channel or spot channel.” 

While many users will choose to pair Avantis with the 48 in / 16 out GX4816 audio expander, Avantis is part of Allen & Heath’s Everything I/O ecosystem, which means it can be connected to a wide range of audio expander hardware. Avantis is also compatible with Allen & Heath’s range of ME Personal Mixers and IP hardware remote controllers.

For local I/O, Avantis is equipped with 12 XLR analogue inputs, 12 XLR analogue outputs, plus AES (Stereo In, 2x Stereo Out). Two additional I/O Ports allow Avantis to benefit from the full range of current dLive option cards, including Dante (64×64 and 128×128), Waves, gigaACE, MADI and more, expanding the scope for system integration, FoH / monitor splits and multitrack recording.

Avantis is pre-loaded with compressors, EQs and Allen & Heath’s acclaimed RackExtra FX units (12 slots). Upgrading to dPack expands Avantis further with additional dLive processing including the Dyn8 dynamics engine (up to 16 instances), DEEP Compressors, and the Dual-Stage Valve preamp.  dPack purchasers will automatically receive all future DEEP and FX updates free of charge.

Avantis pricing is as follows:

Mixer only: USD $9,999 MSRP / EUR €9,699 MSRP

dPack add-on: USD $1,499 MSRP / EUR €1,499 MSRP

GX4816 Remote Expander: USD $3,999 MSRP / EUR €3,499 MSRP 

allen-heath.com/avantis

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Allen & Heath has released Custom Control, a customisable, cross-platform control app created to provide bespoke control over its dLive installed audio systems.

Integrators can now freely design multiple user interfaces for systems built on the dLive engine, tailored to different user levels and/or device types. For example, a bartender can be presented with a simple phone interface, while the AV operator can access uncluttered levels and routing on their tablet, but more comprehensive control when using their laptop.

The design of the app interface is via Custom Control editor software for Windows and Mac OS. Access to all levels, mutes and sends is provided, together with preset recall, source selection and metering. Tabs can be configured for easy access to multiple control pages or zones. Once complete, the configuration is uploaded to the core of the system, the MixRack, ready for deployment.

Any device running the Custom Control app can log into the system with a given user profile, at which point the correct user interface is instantly downloaded and displayed. This allows for both kiosk applications and BYOD use, since the configuration is deployed on demand. Users can be password protected for added security.

Installation product manager, Martijn Verkerk welcomed the new software and app: “The name says it all – Custom Control empowers users by giving them the exact controls they need,” he said. “Using Custom Control editor, the integrator can even tailor the design of the interface to seamlessly blend into the look and feel of the venue.”

The Custom Control app is available for free on iOS, Android, Windows and Mac operating systems.

https://www.allen-heath.com/custom-control/

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Middlesex University is among the latest educational establishments to invest in an Allen & Heath dLive digital mixing system, recently installing an S3000 surface in the TV production facilities at its Faculty of Arts and Creative Industries in Hendon, North London.

The university’s Sony-designed facilities were created to give students as close to a real-world learning and working environment as possible. Boasting a double-height main studio and separate main, VT and sound galleries, they are equipped to a standard comparable to commercial studios and see a diverse range of programme creation – including a significant amount of live music production – throughout the academic year.

“When we were looking to replace our existing audio desk, I was considering very ‘broadcast-specific’ options,” said Aidan Delaney, technical manager at the Faculty of Arts and Creative Industries (pictured below). “However, we do such a variety of things here that dLive simply made much more sense. It’s a real chameleon and we can use it for whatever we need, no matter the scenario. It’s incredibly flexible and easy to use – plus the feature-rich specs, including the excellent onboard dynamics, really made it the obvious choice in the end.”

Supplied by Moonlite Productions, the complete dLive system comprises an S3000 (fitted with Dante 64×64 card for multitrack recording of live music sessions) paired with a DM48 MixRack and two additional DX168 AudioRacks.

Delaney added: “Although it’s a very powerful system, it’s really not difficult to get complete novices up and running, so students with no real sound experience get to grips with it very quickly and feedback from them has been great.

“Studio productions vary immensely – in terms of channel count, physical location with the space etc – and the flexibility of the DM48 and the DX168s means we can place I/O over a single CAT5 cable exactly where we need it. That greatly increases our efficiency when rigging for productions.”

www.allen-heath.com

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Rising superstar Freya Ridings has recently completed her sold-out headline tour across the UK and Germany, accompanied by an Allen & Heath dLive mixing system on FoH.

The English singer-songwriter has been making great strides over the past year, from support shows with artists such as Tears for Fears and Lewis Capaldi to her own sold out headline tours.

“I was looking for a solution that provided flexibility while mixing and the processing power to really dig-in and shape the sources exactly how I wanted,” said FoH engineer Tim Morris. “A prospective monitor engineer for the tour suggested using dLive and after further feedback from AJ Sutherland (monitor tech for Gary Numan), I decided to give it a try.”

Supplied by Adlib, the FoH setup for the tour features a dLive S7000 – fitted with a Dante card for multi-track recording and virtual soundcheck – and a DM64 MixRack. A Waves V3 card is fitted to the S7000 in order to utilise Waves SoundGrid and additional plug-ins.

“dLive is perfect for pop music – for example, being able to add the Dyn8 multiband compressor on up to 64 channels and sculpt sounds together, is fantastic,” Morris added. “I use the Pitch-Doubler to thicken the vocals, especially during fuller arrangements, as it’s really useful to be able to ride it up in choruses to make sure Freya is always front and centre. That’s what people are there to see and hear after all! I’m also a fan of the Opto compressor, I use it in my main mix and it really helps glue things together, as well as keeping things in check during the louder moments of the set.

“I also really enjoy the PeakLimiter76, Transient Controller and 16VU (with parallel compression) on my drum groups. Similar to my studio-work, they let me dial in exactly how much punch is needed during particularly ‘dense’ mixes and allows me to really control moments of impact throughout the set. The Dual-Stage Valve preamp model is also great on DI sources, such as bass and guitar; it adds a bit of life to potentially flat sounding sources.”

This May will see the release of Ridings’ self-titled debut album, before returning to the UK over the summer and setting off on a full US tour in October with platinum recording artist, Hozier.

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Allen & Heath will be highlighting some of its ultra-compact dLive touring systems at Prolight + Sound next week.

Central to the dLive Wings concept is the compact C1500 surface, which allows engineers to manage upscale shows from a 19” console, using its 12” touchscreen, 19 assignable SoftKeys and 12 faders over six layers. Paired with any of the dLive MixRacks, the C1500 is designed for scenarios where space and weight are at a premium.

For scenarios where users are seeking an even more compact solution, the company will also be showing off a surfaceless dLive system, with a pair of touchscreens running dLive Director software controlling the MixRack and a headphones/PFL feed over Dante. These surfaceless systems are often paired with Allen & Heath’s IP8 and IP6 controllers, and/or the MixPad App for even more control options.

“Going from a 36 fader surface to a 12 fader C1500 or a touchscreen can seem daunting at first,” said Ben Morgan, dLive product manager at Allen & Heath. “But with a bit of planning and smart use of SoftKeys, it’s amazing how quickly engineers embrace the Wings concept and the freedom it brings. I hope we can encourage more people to explore the potential of ultra-compact touring at Prolight + Sound.”

“From the moment we first introduce dLive Wings to any engineer, they just ‘get it’,” added Léon Phillips, live sound and touring with Allen & Heath. “Here’s a flexible, compact rig, with the same power as all our dLive systems, but easily checked at baggage and flown on a standard commercial flight. There’s nothing else quite like it.”

Allen & Heath will also be showing its Qu and ZED ranges, while visitors will also be able to get their hands on the SQ series, complete with optional DEEP processing plugins.

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Allen & Heath has released drivers for its Qu, SQ and dLive ranges to facilitate control from Crestron, AMX by Harman and Extron platforms.

Based on the Allen & Heath TCP/IP control protocol, the drivers enable integration with third party equipment and industry-leading control systems.

Available online now, the drivers offer control modules for all key mix parameters, and provide a starting point for building custom user interfaces in corporate, leisure, education and other installation applications. Control elements include levels and mutes for input and output channels, send / crosspoint levels, and scene / preset recall. An example programme is provided with each driver.

The AMX driver for Harman’s AMX controllers includes a Qu, dLive and SQ framework (scene recall only for SQ) and is available on the Allen & Heath website.

Two separate Crestron drivers are available for dLive and Qu mixers respectively on the Crestron Application Market.

Extron drivers for dLive and Qu are available on the Extron website.

“We worked hard to make sure integrators don’t have to!” commented Martijn Verkerk, Allen & Heath’s installation product manager. “Instead of typing hex strings and writing a control interface from scratch, system integrators can now make use of these modules and get a massive head start in creating simple, stylish user interfaces for their clients.”

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In a major ‘first’ for the manufacturer, Allen & Heath has announced that a range of DEEP processing plug-ins are now available as optional add-ons for its SQ Series.

The new options allow SQ users to choose from a suite of plug-ins ported directly from the company’s dLive mixing system, including premium compressors inspired by popular hardware units and a collection of powerful GEQs.

With SQ’s 96kHz XCVI core, based on FPGA technology, a preamp and compressor plug-in can be used on each of the 48 input channels, while a GEQ and compressor can be applied to each of the 16 mixes. DEEP plug-ins are built in to the console architecture and add no additional latency to the system, ensuring phase coherency across channels and mixes.

“One of the key reasons for dLive’s success has always been the quality of its onboard processing and now we’re bringing that direct to SQ,” said Nic Beretta, Allen & Heath’s head of product. “These new additions confirm SQ as the most powerful console in its class, and certainly one of the most customisable.

“As an SQ user, you can pick the combination of plug-ins that you want and really hone the desk to your applications. Whether you need a vintage compressor to bring a studio quality sound to a live vocal, or a precision GEQ to tune an audio system, you can now bring the power of dLive’s DEEP processing to your SQ.”

A Tube Stage Preamp plug-in (worth $149) is free to all SQ users, and additional plug-ins start at $59.

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Monitor engineer Freddie Johns, III used an Allen & Heath dLive S Class S5000 Surface with DM64 MixRack on US rap star Snoop Dogg’s most recent tour, which saw dates in the American Southwest and on the West Coast.

Johns, who has also worked with artists like B.o.B., Far East Movement, Jeremih and A$AP Rocky, had multi-track recordings from previous Snoop Dogg concerts and played these using the dLive’s Virtual Sound Check to set up and mix a couple of virtual shows.

“I fell in love with the desk!” said Johns. “I just became one with the board. Ever since then, I’ve had it on every Snoop Dogg show.” Snoop Dogg’s monitor setup includes in-ear monitors, floor wedges and side fills and Johns noted, “Snoop is on ears but he likes to feel it on stage from the wedges. So, there’s a challenge in trying to balance the ears mix with the stage mix without getting a lot of ambient noise feeding into the mics.”

Johns uses the “IEM Glue” preset on the dLive’s multi-band compressor to help maintain this balance. “I could really tell the difference having that on the ears,” he said.

He also uses the dLive’s Dyn8 dynamic EQ on Snoop’s vocal. “I have Snoop’s vocals double-patched,” he said. “And, I do something different with his wedges than I do with his ears. So, on his ears, I have the Dyn8 and I really like that multi-band compressor, too. Snoop says it makes him sound like himself.”

The monitor engineer uses dLive layers and banks to manage the tour’s mics and direct inputs. He uses at least 24 mix outputs to feed the group’s various monitors and said, “I love the drag-n-drop feature for setting up the desk. I haven’t needed to use any external effects because the onboard plugins sound great. And, there’s no added latency. That’s an awesome feature.”

Added Johns, “The work flow is great on this board. It’s really set up for engineers. And, the Allen & Heath preamps have a nice, warm sound. After I started using the dLive, Snoop said to the production manager, ‘I’m not sure what you guys have been doing but this sounds amazing!’”

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Porsche celebrated its new Panamera Hybrid automobile with a live concert held at the Porsche Experience Center in Carson, CA mixed on an Allen &aamp; Heath dLive S Class with S7000 Surface, DM64 MixRack and DX32 Expander.

The concert featured Dave Navarro, Mark McGrath and others performing as The Royal Machines and was co-sponsored by Rolling Stone, featuring in the magazine’s ‘Engine Notes’ column on 11 December.

Shawn London mixed FOH for the concert while sound and lighting systems were provided by Los Angeles based Harmony Event Productions. London, a veteran FOH engineer with 20 years experience, has mixed for bands like Eagles of Death Metal, Jane’s Addiction, 30 seconds to Mars, The Used and Fishbone.

“The production spaces were 350 feet from the mix booth,” London explained. “So we fed everything over the network from Dante cards in the S7000 and DM64.” He used the DX32 to send and receive channels to the video production area allowing time-code to be added to the multitrack recordings. “That’s the great thing about the dLive,” he added. “You can send audio all over the place and still have plenty of feeds left over. You can’t surpass that workflow with any other mixer.”

London (pictured above) used the dLive’s stereo delays, doublers and Symphonic Chorus for vocals and its Hyperbass for drums and bass. He continued: “I used the Transient Controller for snare and rack toms, but the Dyn8 multi-band compressor is my favourite. There are 64 of these on the dLive and you can put them anywhere with no latency. I never use external effects any more. The dLive with its DEEP Processing is everything you need as an engineer.”

London set up dLive scenes to coordinate these effects for different songs and managed the concert’s 40+ sources using dLive Layers.

London concluded: “The sound was amazing. And the great thing about the dLive is you don’t have to push it to sound this great. We gave this audience a huge rock and roll performance with the feel of a big venue!”

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