Allen & Heath dLive S7000 Package Used, Second hand

1pc   S7000 control surface in flip flight case with two power supplies
1pc   DM64 Stagerack in 10U shockmount case with two power supplies
1pc   DX168 expander stage rack
2pcs 100m Cat7 network cables on Schill drum
2pcs 20m Cat5 network cables

The S7000 has:
1pc Waves card 128x128
1pc Dante card 64x64 (incl. Adapter)
1pc ACE card (incl. Adapter)
1pc AES / EBU card (2/8)

Photos on request.

More details


25,300.00 €

25,300.00 € per Set


About this product

dLive S7000

The S7000 is the largest control Surface in the dLive family, with a whopping 216 assignable fader strips. It features 36 faders over 6 layers, dual 12″ capacitive touchscreens and the innovative Harmony UI for the fastest workflow in the industry.

Harmony User Interface

Where many digital consoles try to recreate the experience of using an analogue mixer, dLive is a true digital native, drawing on our familiarity with the ubiquitous smartphones and tablets that we all use without thinking. The single or twin 12” capacitive touchscreens on the dLive consoles feel instantly familiar, responding to every pinch, swipe, drag and drop exactly how you’d expect them to. Bespoke ‘widget’ areas can also be set up on the screens to keep track of scenes, meters, FX and other custom controls. The screen is framed by a set of one knob / one function rotary controls, allowing the creativity and immediacy of tactile control over key processing functions, working in harmony with the visual feedback displayed on the screen. The rotary knobs have been prototyped 20+ times to achieve optimal grip and precision control, and feature RGB illumination, with colours mapped to functions for instant visual orientation.

Transparent Workflow

As systems become ever more complex and as I/O counts grow exponentially, engineers can find themselves feeling increasingly removed from the action on stage as they are drawn more and more into managing the arsenal of technologies at their disposal. Throughout the dLive design process our guiding aim has been to create fast and transparent workflows that allow the engineer to focus on the mix, not the mixer. The dLive layout is fully customisable, allowing the user to create a mixing interface that matches their own mental map of the show. Every input or mix can be assigned to any and every bank and / or layer, virtual scribble strips allow inputs and mixes to be clearly named and colour coded for at-a-glance navigation, and the engineer has no less than 26 assignable SoftKeys at their disposal, plus 3 pages of 6 assignable rotaries per screen.

Built To Endure

Maybe it’s no coincidence that our lead mechanical designer on the dLive project used to be a tank commander. All dLive consoles have been designed to deliver the optimal balance between strength and weight, employing higher grade metal on the sides and folded steel at key points for added rigidity. Not only does every console, MixRack and expander have dual power supply slots for redundancy, but we’ve also employed the same rugged, hot-swappable PSU design across the range for maximum peace of mind and minimum inventory. Dual redundancy is also built into every audio connection throughout the system. We have also paid particular attention to console illumination, conducting rigorous trials to ensure that dLive excels in the sunny, outdoor settings where many digital consoles become almost unusable.

  • 36 faders
  • Fully assignable layout – 216 fader strips
  • Harmony UI integrates screen and wrap-around controls
    • Dual 12” capacitive touchscreen
    • Gesture control – pinch, swipe, drag ‘n drop
    • Dedicated multi-mode EQ view
    • Configurable widget areas for Scenes, meters, FX and more
    • 3 pages of 6 assignable rotaries per screen
  • 26 assignable SoftKeys
  • Comprehensive multipoint metering
  • Daylight visibility
  • USB stereo recording and playback
  • 8 XLR mic/line in, 8 XLR line out
  • 2 digital st AES3 in, 3 digital st AES3 out
  • Connection hub
    • Dual redundant GigaACE gigabit link to MixRack
    • 1x redundant DX link for I/O expansion
    • 2x I/O Ports – 128 ch 96 kHz each
    • 2x Network ports
    • Wordclock BNC I/O
    • Video output
  • Dual redundant, hot swappable power supply
  • 3 Year Warranty

Used Allen & Heath

Allen & Heath is a company based in Penryn, Cornwall, England, specialising in the manufacture of audio mixing consoles. Allen & Heath also makes sound management systems for industrial installations.

Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both. Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it's in phase with the input and negative when it's out of phase. Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details). Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level. Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.Gain: Increase in level or amplitude.Gooseneck: This refers to amicrophone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies; lowering sliders cuts (attenuates) the affected frequencies.High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.KHz: Kilohertz or one thousand Hz.Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.Line Array: A group of speakers that have been arrayed or “built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies. Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range. Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers. Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.Phase: Time relationship between signals; it's all relative.Power Output: A measure, usually in watts, of how much energy is modulated by a component.Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.surround processor portion of the receiver and the input of the amplifier portion of the receiver.Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television's tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal. RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square's set of values. A reasonably accurate method of describing an amplifier's power output. Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better. Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language. Sound field: The total acoustical characteristics of a space, such as ambience; number, timing, and relative level of reflections; ratio of direct to reflected sound; RT-60 time; etc. Speaker: A component that converts electrical energy into acoustical energy. SPL: Sound-Pressure Level. Measured in dB. Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX Select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman's eXperiment, after the engineer who drafted the original standard, or is named after the company's founder George Lucas' first movie, THX 1138. Nobody agrees on which.

30 other products in the same category: