DiGiCo D5 Live Digital Mixing Console
The D5 Live digital mixing system sets a completely new standard for live sound mixing.
Its audio quality, convenience, simple and intuitive operation and cost effectiveness are a world apart from conventional mixing. This complete, self-contained system does away with the need for a multicore, splitters, line drivers, dynamics processors and an entire effects rack. You can record live to multitrack using the optional MADIcorder recording system, and store a complete show's settings on a tiny USB key.
Designed from the ground up to bring you superb sonic purity and powerful, instantly accessible control, the award winning D5 Live is a live music mixing system like no other.
The console is available in a choice of four different packages, providing options for the number of input channels and house and / or monitor configurations. The D5 Live is the digital mixing system that changed the professional audio industry's perceptions of what a digital console can do, and how it should do it.
For the first time, the undisputed power and flexibility of digital audio is matched with unparalleled ease of use that meets or exceeds that of the finest analogue desks. For the first time, it's digital without compromise. The D5 Live comes in six basic packages. Each package then offers a range of options.
D5 LIVE CS
The CS-D5 Live digital mixing system provides the full, extensive feature set of the D5 Live, with the exception of the optical I/O, creating a D5 Live at a price point that's competitive with more basic consoles. The CS-D5's technical advantages include a full 48 busses - ideal for coping with the ever-increasing use of in-ear monitors, 128 input channels, which can be increased with extra DSP to 160. 224 inputs and 224 outputs can be connected to enable large routing capabilities for multi-stage events and large orchestral performances, while digital redundancy ensures the show will go on. 41 touch sensitive faders, four touch screens and multi-operator ability give direct instant access to crucial parameters, despite the compact frame size.
MADI (standard) and Optocore (optional) interfacesimprove versatility compared to proprietary systems, and the ability to share stage racks integrates live performance, broadcast, FOH and monitors - and eliminates the need for mic splitters. Sound quality remains peerless, with the CS-D5's 40-bit floating point audio processing maintaining far greater dynamic range in a complex mix than other consoles' fixed point processing.
D5 LIVE FMX
The D5 Live FMX package gives a full 112 Mic inputs on stage, with a worksurface for monitors and a second worksurface for front-of-house, both with their own local DiGiRacks. Three 150 metre drums of fibre optic cable are provided to allow for a digital split and full redundancy of your fibre multicore. The D5 Live FMX package can also be split into two independent, fully-featured D5 live 56 EX packages, therefore maximising rental flexibility.
The D5 Live EX package provides a versatile and cost effective package solution, with a choice of 56 or 112 mic/line inputs on stage and up to a full 160-channel console worksurface.
D5-Live EX mini
The 56 EX Mini-Rack system comprises the console worksurface plus flightcase, a 8 analogue I/O and 8 AES EBU I/O fitted local Mini-DiGiRack, a 56-in, 8-out stage DiGiRack and a 150m drum of fibre optic cable.
The 56 EX system comprises the console worksurface plus flightcase, a 40 analogue I/O and 16 AES EBU I/O local DiGiRack, a 56-in, 8-out stage DiGiRack and a 150m drum of fibre optic cable.
The 112 EX version adds a second, 56-in, 8-out stage DiGiRack and a 5 metre fibre optic connection between the two stage DiGiRacks.
|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
Note: All measurements are made with a 22Hz to 22kHz filter and RMS detector.
|Input Channel:||Up to 240 mS in 0.65 mS increments.|
|IPC's:||Up to 512 ms in 2 sample 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 Compressor channel and IPC||Gate|
|Threshold range:||-50dB to 0dB||-50dB to 0dB|
|Attack range:||500uS to 100mS||50uS 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|