Benum Equips Norwegian Engineers With Allen & Heath

Distributor in Norway solves console choice concerns for sound engineers looking for a fly-in mixing systems with dLive C Class.

By PSW Staff May 19, 2017

Stian Sagholen and his C1500 at FOH for Einar Stray Orchestra

Eight Allen & Heath dLive C Class systems, based on the compact C1500 surface and CDM32 MixRack, have been purchased in Norway, mainly by sound engineers looking for a fly-in mixing system.

Sold by Norwegian distributor, Benum, the systems were specified by several of the country’s most prolific and well-respected freelance audio engineers touring with some of Norway’s most successful pop acts.

“It’s the only option on the market that offers compact mixing that you can take on a commercial airline, with the right sound quality and minimum hardware,” says Stian Sagholen (front of house for Einar Stray Orchestra and Dunderbeist, monitors for Madcon). “I love the fact that just because I want a small format mixer I am not limited in terms of channel count, processing or routing options.”

“I specified the C1500/CDM32 solution because it’s check-in friendly, has every tool I need for the gig and is a self-contained package with no need for any external units,” adds Børre Leinebø (front of house for Gabrielle, Madcon, Dsound).

Other engineers who have invested in the system comprise Einar Honning Nordberg (front of house for Elsa & Emilie, Anne Grete Preus, monitors for Midnight Choir), Markus Sannan (front of house for Julie Bergan), Per Arne Torp (front of house for Plumbo), Sondre Røssland Sandhaug (front of house for Sondre Justad and Astri S), Steven Grant Bishop (monitors for Sondre Justad), and Jonas Kristoffersen Alfhei (front of house for Kitfai and BAYA).

“I had tried several compact systems but there were a lot of compromises, so when the C Class series with the C1500 surface was unveiled there was very little doubt that this system was the next logical step for me,” concludes Jonas Kristoffersen Alfhei. “The learning curve is very efficient and the workflow is very fast and natural. I have done a lot of preproduction work on the dLive Director control software and I find it very helpful to be able to use software that mimics the layout of the surface, I can do 90% of my preproduction work before I even enter the venue.”

Allen & Heath


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