DiGiCo D5-T Digital Mixing Console
The DiGiCo D5T is designed to put powerful, versatile, creative audio control right in the hands of theatre sound designers and operators.
Designed in collaboration with some of the world's leading theatre sound practitioners, it provides a unique range of functionality in a compact package. The D5T sets a completely new standard for theatre sound mixing, with audio quality, intuitive operation and flexibility that are a world apart from conventional analogue or digital consoles.
One glance at the innovative control surface tells you that this console has been designed for sound engineers by sound engineers, including several of the world's most renowned theatre sound designers.
Virtually every feature is there to see at a glance, or at most a single, logical fingertip press away. The four LCD touchscreens present their facilities exactly as you'd expect to find them on an advanced analogue console, with instant access and a refreshing lack of menus to navigate. This highly intuitive approach means that for anyone moving on from an analogue or digital console, the learning curve will be as short as the feature list is long.
The DiGiCo D5T combines a wealth of facilities in a compact, 1484mm W x 868mm D (58.43in W x 34.17in D) worksurface that potentially will give back hundreds of seats a year to large productions.
Key features include dynamics processing with side chain EQ; up to 240ms of delay: four bands of parametric EQ, high and low pass filters; 72 user-assignable busses; 32 x 32 output matrix; group outputs each with delay, six bands of parametric EQ and compressor; and pre-equaliser group outputs for use by measurement systems such as SIM; dedicated illuminated Next/Previous Cue buttons; full off-line DiGiCo Cue Composer Show Programming software; user definable I/O specification and high quality on-board digital effects.
D5-T Master Section
The D5T master section, as well as the customary output groups and master fader, provides powerful control of the console's overall setup via a series of pages instantly selectable on the fourth touchscreen. Also controlled here are the powerful 32 x 32 output matrix and the console's cue system.
The first page, System, provides real-time diagnostics which constantly monitor the system, the MADI line, software versions, power supply levels, internal temperature, etc.
This page stores, recalls and sets up individual sessions. As well as the standard default files, it includes features such as Load Preset Library for recalling user presets of EQ and dynamics settings, which can also be merged when, for example, two engineers are using the desk in the same session or show.
The Layout page allows you to bring all the correct channels straight to the console's physical faders. On this page, too, are the extensive labelling facilities, enabling you to type in alphanumeric labelling on screen or the full-size slide-out QWERTY keyboard for the LCD scribble strip, screens, busses and fader banks. Channel settings may be copied or moved here from one to another, and a channel's settings can be copied to multiple channels using the Duplicate feature.
The comprehensively-equipped 32 x 32 output matrix allows any channel, buss or physical input to be routed into the matrix, and then routed out to any of the physical outputs. Each group output provides six bands of fully parametric EQ (the upper and lower bands can be switched between shelving EQ and filters), dynamics and delay. The touchscreen gives you control over all the group sends via a dedicated rotary control and a switch. Once again, a preset library allows you to save an unlimited number of matrix presets for instant recall.
The on-screen scroller provides fast access to subgroup, master output and auxiliary output routings, and a touch on the screen displays current routing settings. Each output has a brick-wall master limiter, variable threshold and variable release time, along with routing to allow the buss to be routed to as many of the outputs - analogue or digital - as desired. There's also an output buss insert point for an external processor. Auxiliary outputs are handled in exactly the same way with an additional pre/post fade switch.
Control Groups Page
Here you have the option of either VCA-style fader control in which the individual faders remain in position when the VCA group fader is moved, or digital-style in which all the moving faders physically follow the group fader. The choice of working method is yours; their functionality is identical.
There are 24 control groups; these can be moving fader or VCA style and can be assigned to inputs, outputs or both. Making a channel part of a group, simply requires selecting 'Touch' and then touching all the faders required for the control group. Further touches add or remove each fader from the group. Channels/busses can be assigned to multiple control groups, which also appear on screen.
|Analogue Inputs||Analogue Outputs|
|Frequency response 20Hz-20kHz::||+/-0.2dB||+/-0.2dB|
|Level linearity deviation 0dB to -90dB:||<0.3dB||<0.3dB|
|Phase difference between channels 20Hz to 20 kHz:||<2 degrees||<2 degrees|
|Channel separation 100Hz to 10kHz:||>90dB||>90dB|
|Total harmonic distortion 100Hz to 10kHz:||<0.004%||<0.004%|
|Maximum input level (at unity gain) mic and line:||+22dBU|
|Microphone equivalent input noise
(150 ohm, 60dB gain):
|Maximum analogue gain (mic and line):||+60dB|
|Mic input impedance:||>1kΩ|
|All other analogue inputs impedance's:||>5kΩ|
|Idle channel noise ratio:||<112dB|
|Maximum output level:||+22dBU|
|AES/EBU :||24bit (w/sample rate converters)|
|MADI:||56 channels of 24 bit audio|
|OPTICAL:||512 channel redundant optical loop|
|Internal:||44.1 and 48kHz using a high stability numerically controlled oscillator. With an upgrade option to 96kHz|
|External:||From any digital input Black burst 75ohm video Wordclock|
|Sample range:||30Hz to 50kHz|
|Console:||87 to 260v AC 50/60Hz autosensing. 300 watts max|
|Audio rack:||87 to 260v AC 50/60Hz autosensing. 150 watts max|
|Theatre Masters Controller (Tc):||87 to 260v AC 50/60Hz autosensing.150 watts max|
|Remote Controller (rc):||87 to 260v AC 50/60Hz autosensing.150 watts max
Note: All measurements are made with a 22Hz to 22kHz filter and RMS detector.
|Delay:||Up to 240mS in 0.5mS increments.|
|Channel Equaliser||(IPC Eq has two extra bands with individual band switching)|
|High Pass Filter||Low Pass Filter|
|Frequency range||(-3dB): 20Hz to 20kHz||(-3dB): 200Hz to 20kHz|
|Gain range:||Frequency range||Q range:||Slope|
|Mode 1: Bell||+/-18dB||20Hz to 20kHz||0.1 To 20|
|Mode 2: High Shelving||+/-18dB||20Hz to 20kHz||0.1 to 0.85|
|Mode 3: Low Pass||20Hz to 20kHz||-12dB/octave|
|Upper Mid Band||+/-18dB||20Hz to 20kHz||0.1 To 20|
|Lower mid band||+/-18dB||20Hz to 20kHz||0.1 To 20|
|Mode 1: Bell||+/-18dB||20Hz to 20kHz||0.1 To 20|
|Mode 2: Low Shelving||+/-18dB||20Hz to 20kHz||0.1 to 0.85|
|Mode 3: High Pass||20Hz to 20kHz||-12dB/octave|
|Dynamics Channel and Group Output Compressor||Gate|
|Threshold range:||-50dB to 0dB||-50dB to 0dB|
|Attack range:||500μS to 100mS||500μS to 100mS|
|Decay range:||10mS to 10S||5mS to 5S|
|Ratio range:||1:1 to 50:1|
|Gain make up range:||0 to 40dB|
|Hold range:||2mS to 2S|
|Gate depth range:||0 to -90dB|
|Output buss limiter|
|Attack time:||1 audio sample|
|Threshold range:||0 to -50dB|
|Release range:||5mS to 5s|