June 2008—DiGiCo’s (www.digiconsoles.com) SD7 features the all-new Stealth® mixing and routing engine, using the latest incarnation of FPGA (Field-Programmable Gate Array) technology. This–along with two SHARC effects, dynamics and control processors–gives the SD7 eight times the processing power of a D5 Live. Features include 128 simultaneous 192kHz signal paths or 256 at 48 kHz/96 kHz, 448 simultaneous optical, 224 MADI and 24 integral connections 128 buses, 32 matrix buses and 32 graphic EQs.

May 2007—DiGiCo announced a package from Advanced Design of Kentucky (www.adkproaudio.com/digico.asp) that adds plug-in capability and simultaneous 56-track recording to DiGiCo mixers—or 112-track recording if plug-ins are not required. The entire system is housed in a four-rackspace unit with 640 GB of audio storage and two removable drive bays. The Pick ‘n Mix solution lets users specify specific plug-in cards for their preferred effects such as UAD, Waves and TC PowerCore. Recordings are made in the industry-standard Broadcast WAV for playback and editing on any software/DAW package. Connection is via two MADI cables and pricing is affordable: less than $10k.

October 2006—To evaluate the much-awaited V. 4 software update for our digital consoles, come by our stand.

September 2006—DiGiCo’s MiNi-DiGiRack adds flexibility to its D1 and D5 Live systems. The four-rackspace unit features a MADI or optical interface and allows any slot to be used as input or output for analog connections, or I/O for AES digital. In the turnkey D1 Live 48Mini-DR and D1 Live 56Mini-FM packages, the rack is onstage and the Mini-DiGiRack provides eight mic/line in, eight line out and four (eight channels) AES I/O at the house mix location. Also, Aviom’s D-16c card for DiGiCo’s standard DiGiRack bridges Aviom and DiGiCo protocols, delivering 16 channels of digital audio, and letting musicians create their own personal mix via Aviom’s A-16II Personal Mixer.

October 2005—The MiNi-DiGiRack was designed to give even more flexibility to the D1 and D5 Live systems. The 4U-high and 19-inch rackmount MiNi-DiGiRack can be fitted with a MADI or optical interface, and has two power supplies with separate mains connectors and switches. There is a newly designed back plane that allows any slot to be either input or output for analog connections, or both in and out for digital connections such as AES/EBU.

October 2005—The D1 Live 48Mini-DR and D1 Live 56Mini-FM packages use the new compact MiNi-DiGiRack to further expand the D1 Live system range. In these systems, the stage rack is located onstage and the Mini-DiGiRack provides eight mic/line in, eight line out and four (eight channels) AES I/O at the control surface location. With room for four I/O cards total, this still allows the user space to add another card for their particular needs.

September 2005—DiGiCo’s D5 Live 56 digital mixing system comprises a 64-channel work surface, a DiGiRack stage interface containing 56 A/D and eight D/A converters, and a second local DiGiRack residing next to the console, providing 56 external I/Os for inserts, effect send/returns, local monitoring and playback. The D5 Live is split into four sections of eight channels, each with an LCD touch screen. The center of the desk incorporates a “selected channel” section with dedicated hardware for channel control and an onscreen frequency display showing the EQ curve. Two master banks provide 16 faders that function as a matrix, group or aux out masters. Features include expansion slots for additional DSP and optional effects processor, snapshot recall, MADI port and a modem port for diagnostics and software updates. MSRPs: D5 Live 56 EX (40 analog, 16 digital I/O), $175,874; D5 Live 112 EX (with a second stage DiGiRack), $202,231; and D5 Live 112 FMX (monitor/FOH package), $352,436.

September 2005—Featuring 40 mic/line inputs and 24 outputs, the D1 Live 40’s local DiGiRack enables it to function as a direct replacement for an analog console by using existing copper multipair from the stage. The D1 Live handles 64 mono/stereo channels and can be expanded to 160 channels, with access to 224 inputs, 224 outputs and 40 buses. The D1’s six independent effect processors generate reverb, delay, pitch change, multiband compressor and 28-band graphic EQ. Sixteen IPCs (insertable processing channels) include 6-band parametric EQ, compressor and delay, and may be inserted across any input or output. The D1 Live 48DP (Dual-Purpose) system extends the Live 40’s facilities with a total of 48 mic/line inputs and 16 IPCs. System packages start at $68,718.

October 2004—Following the release of the Quick Start DVD, DiGiCo now offers the full version of its D5 Live user manual, a DVD giving users individual tuition wherever required. The D5 Live is an intuitive, simple-to-use console, so the DVD focuses on its less-obvious features, while still including a quick-start section for getting novice users up and running in 15 minutes. An offline version (and full PDF-format manual) is also available on the DiGiCo Website.

September 2004—The latest addition to the DiGiCo product line is the D5 RE (Redundant Engine), a stand-alone outboard system providing total audio engine redundancy through a few simple connections to any DiGiCo D5 Live console. The RE is daisy-chained to the main console and stage racks via standard D5 fiber-optic cables and from the RE to the mixer via two 5-meter BNC MADI cables. Add one crossed Ethernet networking cable between the Cat-5 ports on the console engine and RE, and the RE can mirror the D5 console. In the unlikely event that the master audio engine has problems, audio is automatically and transparently switched to the RE without interrupting the program. The flight-cased D5 RE contains a complete D5 engine assembly, two PSUs and trackball keyboard for setup procedure. An external monitor is required for console visuals.

June 2004—A year ago, DiGiCo showed the mid-priced Soundtracs DS-00 scalable, medium- to large-format digital console. Now, it’s delivering the specialized FP-00 film section option, giving users true film-style control with dedicated paddle switching (recall of all paddle functions during the session).

November 2003—Version 2 software for DiGiCo’s D5 Live digital mixer adds improvements and extra features. Free to existing D5 Live owners, V. 2 provides facilities such as four-console networking for gain-tracking FOH/monitor inputs or connecting to a second redundant console for fail-safe recovery. Other tweaks include security modes to prevent accidental changes during shows; snapshot timed automatic sequencing; solo A/B buses; monitoring delay on/off switching; enhanced MIDI message editing; 32 additional insertable processing channels on an optional slave card; six (or three stereo) graphic EQs to onboard FX slots 5/6; and more.

November 2003—DiGiCo refined its D5 digital console for theater with a 124-bus engine instead of the 40 found on the D5 Live. In addition to the D5T control surface, there is a D5Tc Controller, a compact frame designed for running programmed events, with widely spaced master faders, macro keys, rugged Previous and Next “Go” buttons, plus script-tray and keyboard. The D5Trc Remote Control is useful for tweaking from various locations during rehearsals, having a single input and output control section.

June 2003—Soundtracs/DiGiCo opened up the market for scalable, medium- to large-format digital consoles in the midprice range. The company now distributes the new Soundtracs DS-00 ($45,000) modular digital console, which features touchscreen control and a variety of add-on modules. Specialized additions include a $18.5k FP film section, $12k EX fader-channel extender modules and a $7.5k HD user-definable bay to fit custom controllers, phase meters, etc.

October 2002—DiGiCo announces the launch of the ultimate large-format digital mixing console touring package, the D5 Live. The fully flightcased system can be configured as a 56- or 96-input console, both incorporating an industry-praised, user-friendly surface with the added benefits of optical-to-stage, digital TFT touchscreens and full-function processing on every channel. Visit our AES demo room to experience the future of live digital performance.