Rather than launch into technical jargon, let me summarize. It’s giant. It has lots of faders and knobs and color screens and such. Not only can you not afford it, you can’t lift it, either. It has an insanely stupid name. But it’s quite beautiful, like a 1979 vision of the future dreamt up by defense contractors.

Supposedly, it’s a digital mixing console. Pity, as it looks like it’d fit right in on your nuclear submarine. If I’m every successful as an evil mastermind, I’ll regularly hold late-night music sessions on my nuclear sub. I’ll sync the sub’s reactor system to, well, Reaktor, and use the periscope to control filter cutoff in Ableton Live. You’re invited. Mash-ups of the Beatles — well, that’s a no-brainer. (“And our friends are all aboard” / “Many more of them live next door” / “And the band begins to play…”)

In the world of Allen & Heath, this is a “compact” digital mixing console. (See the product site for what a non-compact version looks like.) It’s “designed for smaller applications such as theatres, churches and touring bands.” Hmmm … my idea of a band tour generally involves some cheap plastic control surface in a tote bag, not this and a bus, but that’s why I’m not a real rock star.

And they somehow decided to call the whole line iLive, which sounds like some tinny plastic speaker accessory for iPod.

Got £15,000 + ? This is yours, starting July 2007. Other members of the CDM staff would rather have this. In the meantime, back to my far-cheaper controllers and mixers.

iLive Digital Mixing Line

Yup. Even the EQ section has sex appeal.