Allen & Heath QU Series Plays Multiple Roles at Highview Baptist

Four Allen & Heath Qu Series digital mixers perform a wide variety of jobs for Highview Baptist in the smaller and medium-sized spaces across its three-campus network in Louisville, Kentucky. Technical Director Rick Mead says these rooms host everything from band or drama rehearsals to large meetings and conferences. “So, part of my job is to equip each of these spaces, and the groups who use them, with the audio systems and other tools they need to be successful.”

Highview’s first Qu Series mixer was a Qu-24, purchased from Full Compass Systems to replace an older analogue console. Mead says, “Honestly, we were so blown away by what that little mixer could do that it changed our thought process for our smaller spaces.” Highview then added three Qu-16s and Mead continued, “One of the things I love about the Qu Series is that, for a small mixer, the features and hardware are great. The preamps are super clean and the digital processing for reverbs and effects is actually better than some larger mixers I’ve worked with from other brands.”

ALLEN & HEATH QU SERIES PLAYS MULTIPLE ROLES AT HIGHVIEW BAPTIST

Highview also purchased three AB168 portable remote AudioRacks to use as stage boxes and a ME Personal Mixer system for in-ear monitors in their main sanctuary that travels to the smaller spaces as needed. “After I put in that first AB168, I decided I was done with analogue snakes,” said Mead. “And all my band members just love the ME-1s.” Mead often records events using the mixer’s multi-track Qu-Drive output linked to a PC running Waves Tracks Live. For training and setup, he plays back the recordings using the mixer’s virtual soundcheck (VSC) feature.

ALLEN & HEATH QU SERIES PLAYS MULTIPLE ROLES AT HIGHVIEW BAPTIST

Mead used his Qu-16s for a recent youth retreat. “We had two separate bands in two different spaces and, for the last session, we needed to combine them. I had spent a lot of time doing things like dialling in the drums and didn’t want to start that process over. So, I saved my show file on a flash drive. Then, I brought up another Qu-16 in a portable rack, recalled my settings from the flash drive and configured a few more inputs. What could have been a complicated setup became fluid and simple.”

Mead comments, “Allen & Heath is the only manufacturer I’ve found that keeps a similar workflow and structure from their smaller mixers, like the Qu, all the way up to their larger consoles, like SQ and the new Avantis. That greatly simplifies training and helps us standardize our systems. My ultimate goal is for us to be top to bottom Allen & Heath.”

Coti Tours Spain with dLive Wings

Grammy award-winning Argentinian performer, Coti, recently completed a 20-date tour of Spain, culminating in a performance at the Gexto Sound Festival, with a compact dLive Wings system handling monitor duties.

Coti Sorokin is one of the best-known artists, songwriters and producers in the Spanish speaking world, with numerous Platinum discs to his name. For Coti’s latest Spanish tour, monitor engineer, Alejandro Blanco opted for his very own highly portable mixing system, comprising a dLive C1500 19” Surface fitted with a WavesV3 card for multitrack recording and a DM32 MixRack, fitted with a Dante card, a superMADI card, for digital splits and AES10 card, for running wedge monitors and side fills.

“dLive is the best sounding console on the market right now and in my opinion, there’s no other mixer that offers the capabilities of dLive, without the need of third-party plugins or servers – the power and quality of the DEEP plug-ins is impressive,” explains Blanco. “Apart from the quality, weight and size is very important and it now only takes 15 minutes or less to set everything up, which is perfect for festivals with quick changeovers.”

COTI TOURS SPAIN WITH DLIVE WINGS

The show required in-ear mixes for Coti and his violinist, keyboard player and backing vocalist, plus four wedge monitors and side fills. As such, a portable DX168 expander provided additional I/O onstage. Blanco comments, “I run dLive Director and load my iPad with the MixPad app to facilitate soundchecks. As we don’t carry a full production, every show has a different monitor mix, so having the ability to roam the stage is fundamental – particularly when you work with an artist who doesn’t perform soundchecks. It’s essential that I’m able to hear what Coti hears, in order to create the perfect mix for him.”

Introduced in dLive’s V1.8 firmware update, Blanco utilises MCAs in conjunction with DCA spills, enabling full and simple control over his IEM’s. Blanco adds, “As a small ‘trick’ on my C1500, I have all my individual channels grouped into different DCA’s. This means that I can immediately access the member channels I need via DCA Spills and access each mix through the Softkeys. MCA’s are also perfect for mixing the artists IEM’s.”

Blanco also made extensive use of dLive’s Dyn8 processor for dynamic EQ and multiband compression, adding, “Dyn8 is a total live saver for vocals, it’s always clear and on point, no matter if the singer sings softly, shouts or cups the mic. The combination of Dyn8 and the Opto compressor, which I place on each of my outputs, is great and provides this sweet and balanced sound. The musicians have even said how happy they are with their mixes now.”

dLive Supports Lewis Capaldi on Sold-Out Run

Continuing his run of sold-out arena shows, Scottish singer-songwriter Lewis Capaldi takes on the world one show at a time, along 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” explains FOH engineer, Andrew Bush.

DLIVE SUPPORTS LEWIS CAPALDI ON SOLD-OUT RUN

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,” explains 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.” Furthermore, Bush 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,” comments Lawrie.

DLIVE SUPPORTS LEWIS CAPALDI ON SOLD-OUT RUN

Bush adds, “I also use the Dyn8’s multiband compression a lot on vocals, bass and guitars. However, I also really like the Opto and 16VU – they’re just very transparent and being able to put them on multiple channels without any limitations is excellent.”

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 adds, “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.”

Watch the video interview with Bush and Lawrie here.

Luck of the Irish Thrives with Allen & Heath

MILWAUKEE, WI — It may be widely known for its Germanic roots and mass celebration of beer, bowling, and bratwurst, but this town is also the site of Irish Fest—the world’s largest celebration of Irish music and culture—which this year utilised dLive and SQ Series consoles from Allen & Heath.

Held downtown at Henry Maier Festival Park along the shore of Lake Michigan, Irish Fest 2019 featured 100 musical acts and 300 different performances spread across 16 stages. With Clearwing Productions handling the bulk of the event’s sound reinforcement needs, the Ingleside, Illinois-based independent rep firm Audio Biz deployed five dLive and six SQ Series consoles across seven of the stages plus a preshow/demo suite. Among the dLive systems were S5000 and C3500 control surfaces supported by DM48, DM64, and CDM48 MixRacks. Utilised at smaller stages where space was at a premium, SQ-5 and SQ-6 mixing systems were used to run both the house sound and monitors simultaneously from a single control surface. For I/O needs, Allen & Heath’s DX168 and GX4816 were chosen.

“Bands and engineers came in for the event from all over the country and Ireland,” Audio Biz’s Shawn McLoughlin relates. “And while most of the engineers had heard of the dLive and SQ Series consoles, not quite everyone had worked with them yet. That’s why we created the preshow/demo suite, which was outfitted with a dLive S5000/DM64 and an SQ-6. The idea was to provide a space for everyone to familiarise themselves with the desks and prep for their shows before they actually went out to face the crowds.”

As the event transpired, McLoughlin and Brian Christ, his Audio Biz colleague who was also on-site for the duration of the festival, found that their gambit paid off. Comfort levels with the desks materialised quickly. Many of the engineers even downloaded dLive Director, a multi-platform editor including control software that allowed them to configure their systems before the festival and arrive for their showtimes ready to go.

“Everyone who took advantage of the preshow/demo suite walked away with a clear plan of action,” Christ adds. “Many set up show files, then simply dropped them into place and were up-and-running. The desks integrated themselves into the event quite easily and could even be set-up to mimic whatever configuration someone was used to, even from another manufacturer’s board. It was almost as if no experience was required to obtain excellent results and reap the workflow and sonic benefits the SQ and dLive have to offer.”

Overflo Productions Turns it Up with dBTechnologies

While many of the greatest soul, pop, and country hits may have been recorded at Rick Hall’s FAME Studios in Muscle Shoals, Alabama, you only need to cross the Tennessee River into the town of Florence, to find Overflo Productions, a company making a name for itself in live sound with a new VIO rig from dBTechnologies.

Overflo is owned by Tim Spidel and offers sound, lighting, video, and set design services. With a client list ranging from Ludacris to CCM rockers Tenth Avenue North and country chart-toppers including the Drive By Truckers, the company is burning it up both on the road and at festivals and other events.

Overflo Productions Turns it Up with dBTechnologies

“We’ve always had work coming in from all directions,” Spidel relates. “Recently our needs grew for a reliable, solid-performing line array that wasn’t insanely expensive, as all of our clients want to sound great and cover a lot of people, but most don’t have an endless budget.”

Having already established a relationship four years ago with dBTechnologies that allowed them to leverage the power of the Italian company’s DVA line array technology, Overflo expanded its inventory this year to include a number of offerings from the self-powered VIO family of products. With 16 VIO L210 and eight VIO L208 active, two-way enclosures now at their disposal, along with a dozen VIO S218 subwoofers, Overflo controls its VIO rig using dBTechnologies RDNet Control interfaces communicating with the cabinets via Aurora Net software.

“These boxes are incredibly compact and light,” Spidel says. “They are perfect when we have to get the power and coverage of a massive show packed into a small truck or bus trailer. Seeing what little space they occupy has shocked some of the artists and managers we work with. If they’ve never seen or heard a VIO system before, we’re ready for them to be skeptical. All we can say is ‘trust us’. We have yet to let anyone down.”

Spidel has found that the loudspeakers also deploy quickly. “If you’ve done your array calculations correctly, you’re at a great starting point right out of the gate,” he adds, “and it takes little from there to dial everything in. The coverage, throw, and sonic quality—they exceed expectations. The separation is great all the way down to the low-end. Our business and profitability have increased since we made this move. It only makes sense to buy more.”

Production & Post-Production House Expands Its Manhattan Facilities

Sim is a leading equipment rental, production and post-production company with locations in Los Angeles, New York, Toronto, Vancouver and Atlanta. They have recently completed a major expansion of their post-production facility in downtown Manhattan, NY. Of the seven new rooms there, four accommodate audio, including three 5.1 surround mix suites, one with Dolby Atmos® capability, and an ADR/VO recording studio, which can accommodate as many as five actors. All four new audio rooms and a central machine room are linked using a network employing components from Focusrite’s RedNet range of Dante® networked audio converters and interfaces.  Four RedNet 5 Pro Tools® | HD bridges are located in the machine room, feeding the Pro Tools systems in each of the three broadcast audio mix suites. Two of those suites are equipped with RedNet 1 eight-channel A-D/D-A interfaces, while all three suites have RedNet 2 and/or RedNet A16R 16-Channel A-D/D-A interfaces. These three types of RedNet interface create a robust, efficient and effective AoIP infrastructure that has vastly streamlined the workflow for Sim. 

In addition, Focusrite RedNet X2P 2×2 Dante audio interfaces are used elsewhere in Sim, to expand the Dante network for ancillary operations. In the large theater, ad-hoc recordings can be captured using a shotgun mic and an X2P, and tracked straight into a Pro Tools project. In the facility’s various vocal booths, X2Ps provide mic preamps for VO mics, and headphones mixes for talent, all from within one compact box that can be powered via PoE. 

The new studio resources are geared toward scripted television, as Sim Post seeks to support the current boom in broadcast and streaming production. Recent TV credits for Sim New York include the MTV VMAs, Wu-Tang Clan: Of Mics and Men for Showtime, and Deal or No Deal for NBC; recent film credits include Motherless Brooklyn for Warner Bros. (fall 2019) and Someone Great for Netflix. “We are responding to an acute need for more high-quality post services in New York, especially for television,” says Sim Post New York Partner and Vice President Kim Spikes. “Our new sound and picture resources are designed to meet the finishing and delivery needs of those scripted productions.”

The RedNet audio network is critical to making that happen, says Liam Ford, Sim’s Senior Vice President, Post Engineering. “RedNet lets us connect all of these spaces together on single strands of Ethernet cable, instead of the dozens of copper cables we’d need otherwise, which is a huge cost savings,” he says. “Also, we have much greater flexibility from putting our Pro Tools systems in a central location and networking from there to each mix room. That way, our editors can continue working on the Pro Tools deck of their choice, configured the way they want it, in any of the rooms, because the Pro Tools systems aren’t locked to a particular room. In addition, when we need extra processing power, we can connect multiple Pro Tools stations together on the network. And we have all of our related audio, such as recording and talkback mics, on that same RedNet network. It’s a full AoIP system.” 

The new studios, which came on line earlier in 2019, can also serve as a template for future audio-post expansions. “In the event we expand to other cities, what we’ve done in New York with RedNet is the model for how to do it going forward,” he says. “The advantages it offers, at a time when we’re so busy and the amount of work continues to grow, are incredible!”

VIO L212 Brings Beyond Absolute Perfect to Indio, CA

When K-Pop band B.A.P. (Beyond Absolute Perfect) descended upon Indio, California last month to play for thousands of screaming fans at the Fantasy Springs Resort Casino, the newest member of dBTechnologies’ VIO series, L212, took the stage with them. It was a highly anticipated show, preceded by a special VIP Meet-and-Greet with superfans, and Troy Choi of Solid Sound Solutions saw it as the perfect opportunity to see what all of the excitement around the VIO L212 was about. 

“I’ve never worked with B.A.P. before, but I’ve been a part of over twenty different shows at this venue,” says Choi, the Production Manager and FOH engineer for the show. “It’s a pretty reverberant room without any acoustic treatments. It’s definitely not an easy acoustic space, so we had to put a lot of thought into the PA design for this room.” 

Twelve VIO L212 boxes were hung per side, twenty-one S218 subs lined the front of the stage, four VIO L210s acted as outfills on each side and two VIO L208 boxes were front fills.  After playing a large part in the first VIO L212/S218 U.S deployment, Ruben Santa Cruz was at the B.A.P. show to assist with system design, deployment and tuning. 

VIO L212 Brings Beyond Absolute Perfect to Indio, CA

“Now that we have a larger format box in the VIO series we’ve rapidly expanded the type of shows we can handle. Furthermore, having different line array modules in the VIO series with the same HF drivers and phase response makes scaling the system quite simple,” says Colin Studybaker, National Sales Manager for dBTechnologies. “When you can control the flown line arrays, subs, outfills, and front fills all with the same software, in our case Aurora Net, it really allows you to maximize the efficiency of your setup and have total control of the entire system in one place.” 

“I’m a big fan of the VIO L210, and when I heard the VIO L212 for the first time, it felt like the L210’s big brother with a warm and deep heart. It was very clear but not piercing at all. I think 212 is ready to go out on big shows. The S218, as well, was a big two thumbs up for me,” commented Choi. “It was super-punchy, tight like a muscled tiger rather than a fat, lazy bear. Artists can be pretty particular with sound, and B.A.P. has understandably high standards- but they said the VIO L212 and S218 really delivered for this show.” 

Choi, who has toured internationally as a sound engineer in some of the world’s top venues, also remarked on his experience with the dBTechnologies brand as a whole. “There are so many big PA names in this industry that people look for, and I feel like VIO L212 especially is right up there with those names. It’s not second-best by any means, it’s clear that the research and development department at dBTechnologies has done their homework with this one. The people at dB really pay special attention to the needs of their clients, and they’re humble.”

Buena Park’s Thanksgiving Church Chooses dBTechnologies

Solid Sound Solutions upgrades prominent Orange County house of worship with VIO L208 loudspeakers

Solid Sound Solutions recently brought sonic upgrades to Buena Park, California’s Thanksgiving Church using 24 dBTechnologies VIO L208 loudspeakers, VIO 218 subwoofers, and full-range, horn-loaded Ingenia IG1T and IG2T enclosures.

The install relied on an audio blueprint penned by Solid Sound Solutions founder and owner Troy Choi. Choi has gained attention as of late in roles as monitor engineer for the rock band Toto, and as the primary mix engineer for La La Land in Concert, a series of screenings of the Oscar-winning film that incorporates a live orchestra, jazz ensemble, and choir. 

Solid Sound Solutions recently upgraded Buena Park, California's Thanksgiving Church with a dBTechnologies loudspeaker system based around VIO L208 enclosures and S218 subwoofers.
Solid Sound Solutions recently upgraded Buena Park, California’s Thanksgiving Church with a dBTechnologies loudspeaker system based around VIO L208 enclosures and S218 subwoofers.

“Beyond what I’ve been doing with Toto and the La La Land project, it seems I’ve gained a reputation of sorts lately for my work with churches in Greater LA,” Choi says. “I never purposely set out to gain this kind of recognition. It all started last year at the Berendo Street Baptist Church in Koreatown, where I proposed some ideas, they liked what they heard, and then loved the results. Word spread about how good the system sounded, and pretty soon I was getting queries from other churches all around Southern California.” 

Having used dBTechnology’s VIO L210 loudspeakers and VIO S318 subs as central components within the Berendo Street Baptist Church install, Choi drew inspiration from the design to make his mark at Buena Park’s Thanksgiving Church, which is one of the more respectably-sized houses of worship in Orange County. When he was done, a dozen dBTechnologies VIO L208 enclosures were flown per side, and a pair of VIO S218s were chosen for subs. Two Ingenia IG1T cabinets stand-in as frontfills, while a pair of Ingenia IG4Ts serve as sidefills.

The New Life Christian Church in Glendale additionally revitalized its sound with Choi and Solid Sound Solutions’ help earlier this year. A system comprising a total of 18 DVA T8 enclosures from dBTechnologies was deployed in a configuration bringing six per side to the house left-and-right, and three more per side for delays.  

“Solid Sound Solutions is a small company, but we’re on the move,” Choi proudly adds. “With dBTechnologies, we’ve been both able to provide our clients with serious performance and sonic quality at prices they can afford. That’s been a major factor in our growth, and is propelling us at a steady rate into corporate and other markets as well.”

Troy Choi (pictured) has penned a number of designs for houses of worship throughout Greater LA using VIO and other loudspeaker systems from dBTechnologies.
Troy Choi (pictured) has penned a number of designs for houses of worship throughout Greater LA using VIO and other loudspeaker systems from dBTechnologies.

SQ Mixes it Up With Carrot Top

Since November 28, 2005, Carrot Top has been drawing sold-out crowds at the Luxor with the most lavish stage production in stand-up, all of which is now orchestrated with the aid of an SQ-7 digital mixer from Allen & Heath.

“When I told my friends I was going to be a comedian, they laughed,” Carrot Top, aka Scott Thompson, 54, has famously said. Now the joke is on them as he continues to rack up miles and smiles on what is surely the longest running stand-up act in the country. While he is widely defined as a prop comic, he actually dives into his onstage trunks filled with all kinds of gadgets and geegaws only twice during his show. In between he does straight stand-up, and that’s where the show is heavily imbued with exceptionally elaborate sound design.

“Hardly a few seconds go by without something being punctuated by a snippet from a popular song, a cartoonish screech, a blast of confetti, or some other effect”

“Hardly a few seconds go by without something being punctuated by a snippet from a popular song, a cartoonish screech, a blast of confetti, or some other effect,” says Thompson’s production and tour manager Dan O’Leary, who has been with the show for 23 years. “This is stand-up scored like a musical when it comes to our sound.”

O’Leary found himself in a position at front of house not all that long ago where he was exceeding the capacity of his aging console. Casting about for a solution, he chose an Allen & Heath SQ-7, purchased from Sweetwater Sound, as a replacement earlier this year.

Beyond the immediate gain in sonic quality the SQ-7 offered, O’Leary notes that having Allen & Heath’s SQ MixPad app—which provides offline editing and online wired or wireless control of his SQ-7’s main mixing functions—was a necessity, not a luxury.

“The SQ-7 and I reside in a tiny little room off to the side where I have to view the show through a small window,” O’Leary explains. “I can only manage the basics from the board in there. With SQ MixPad I simply walk out into the room and handle the fine-tuning. There have been countless times when I’m onstage and something pops-up as well. With the app I use my phone to link to the desk and make a change.”

The scope of Carrot Top’s show has rock ‘n roll dynamics. There are wedges and a subwoofer onstage, and an endless stream of cue lines to hit. “I’m using 15 of the SQ-7’s outputs,” O’Leary adds with a sense of almost geographic wonder. “We record every show with the desk too. This console is perfect for Carrot Top’s experimental spirit. I keep building and refining our control right along with his act.”

Allen & Heath Announces 3rd Installment in 96kHz Mixer Trilogy: Avantis

Allen & Heath has revealed its new 96kHz digital mixer, Avantis, the third to be based on the company’s XCVI FPGA engine. Avantis puts Allen & Heath’s next-generation technology in 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.

ALLEN & HEATH ANNOUNCES THIRD INSTALLMENT IN 96KHZ MIXER TRILOGY: AVANTIS

“Joining dLive and SQ, Avantis completes our trilogy of next-gen 96kHz consoles,” says 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,” adds Rob, “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.”

Encased in its alloy shell and tubular frame, the Avantis control surface is centered on the two Full HD touchscreens and their corresponding rotary controls.

“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,” says 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.

“Ultimately, with Continuity UI, the engineer decides how they’d like to work, not the mixer.”

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 whether you’re an owner/operator looking to build a compact system, or a rental company with existing Allen & Heath stock, Avantis allows true flexibility by connecting to a huge range of audio expander hardware. Avantis is also compatible with Allen & Heath’s range of ME Personal Mixers and IP hardware remote controllers.

ALLEN & HEATH ANNOUNCES THIRD INSTALLMENT IN 96KHZ MIXER TRILOGY: AVANTIS

For local I/O, Avantis is well 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.

Right out of the box, Avantis is loaded with processing tools designed to meet the demands of most users and applications, including 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, future-proofing their investment.

“In the gap between SQ and dLive, the mixer market is littered with 48kHz ‘old-school’ consoles,” says Nic Beretta, Allen & Heath’s Head of Product. “Avantis brings next-generation performance across the board. Customers in venues, houses of worship, touring and the rental market are going to be seriously impressed by how well this ticks the boxes. It’s a really exciting mixer at a compelling price.”

Full details and spec at allen-heath.com/avantis

Avantis pricing as follows:

Mixer only: USD $9,999 MSRP
dPack add-on: USD $1,499 MSRP
GX4816 Remote Expander: USD $3,999 MSRP