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Allen & Heath dLive C2500 Ex-demo, Like new

Ref. code: 1.06.482

dLive C25000

The C2500 is a small-footprint yet powerful control Surface for the dLive MixRack. It features 20 faders over 6 layers, built-in audio I/O, an audio networking port, a 12″ capacitive touchscreen and the innovative Harmony UI for the fastest workflow in the industry.

Harmony User Interface

Where many digital consoles are still trying 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. C2500’s 12” capacitive touchscreen feels 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 screen to keep track of scenes, meters, FX and other custom controls. The screen is complemented by a set of 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 high-grip rotary knobs offer precision control, and feature RGB illumination, with colours mapped to functions for instant.

Transparent Workflow

C2500’s layout is fully customisable, allowing the user to create a mixing interface that reflects their own mental map of the show, or for an installer to set up the surface to match the venue and the experience levels of the operators. Throughout the dLive journey our guiding aim has been to create fast and transparent workflows that allow the operator to focus on the mix, not the mixer. 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 there are 19 assignable SoftKeys, plus 3 pages of 6 assignable rotaries.

Features
  • 20 faders
  • Fully assignable layout – 120 fader strips
  • Harmony UI integrates screen and wrap-around controls
    • Single 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
  • 19 assignable SoftKeys
  • Engineer’s Wedge and IEM fader strips
  • Comprehensive multipoint metering
  • Daylight visibility
  • USB stereo recording and playback
  • 6 XLR mic/line in, 6 XLR line out
  • 1 digital st AES3 in, 1 digital st AES3 out
  • Connection hub
    • GigaACE gigabit link to MixRack
    • DX link for I/O expansion
    • I/O Ports – 128 ch 96 kHz each
    • 2x Network ports
    • Wordclock BNC I/O
    • Video output

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Used Allen & Heath


Allen & Heath (also known as AH or A&H) 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 and DJ mixers for nightclubs.
Allen & Heath is now part of Audiotonix. Allen & Heath was the first manufacture to mount pots and switches on the input channel circuit board. These were the first modular mixers where sub-systems could be replaced as a unit. Allen & Heath was the first company to make a small mixer, a 6 channel, 2 output transistorised mixer called the MiniMixer. The Allen & Heath Syncron A mixer was the first to use op-amps. The Allen & Heath CMC console was the first console to use a microprocessor to integrate MIDI capabilities with a mixer. The GL2 console combined Front of House (FOH) and stage monitor functionality into a single mixer, what is called a "dual function" mixer.
 

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Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.

Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.

Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.

Package: A completed and fully edited audio piece.

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.

Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.

Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.

Pre/Pro: A combination preamp and surround processor.

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.

Q-and-A: Question and answer session.

Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.

Reverberation: The reflections of sound within a closed space.

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.

SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.

Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.

Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.

Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.

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 Bite: A portion of audio of someone speaking.

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.

Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.

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.

THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.

User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.

Voicer: A radio report without background audio taken from a scene or otherwise.

Wrap: A radio report containing both the reporter and an actuality.


Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.

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