The D1 Live’s 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 third touchscreen.

SYSTEM MENU: The first page, System, provides real-time diagnostics which constantly monitor the system, the MADI line, software versions, power supply levels.

SESSION MENU: This menu 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.

LAYOUT MENU: The Layout menu 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 using the supplied QWERTY keyboard. 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.

SNAPSHOT PAGE: The D1 Live’s store-and-recall functions are comprehensive, providing both an almost unlimited number of desk status ‘snapshots’ and the ability to build these into complete scenes. All of these, along with their associated EQ, dynamics and optional effects preset libraries, can then be transferred to another D1 Live or D5 Live via the USB key.

Snapshots can be triggered either manually or automatically, and can be self-timed for automatic sequencing. The feature also allows you to decide which controllers on the channel will change including input gain and more! Direct send routing can also be changed with the snapshot. This is where you can make automated fader bank changes to prepare for the next band on stage or the next song. It also controls fader ganging, control groups and cross-fade times between snapshots.

OUTPUT PAGE: The on-screen scroller provides fast access to group, master output and auxiliary output routings, and a touch on the screen displays current routing settings. Each output has a brick-wall master limiter with 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.

The auxiliary master outputs are assigned here to the physical faders on the master fader bank. The master bank provides eight master faders which can be assigned as matrix outputs, group outputs, auxiliary outputs and control group masters.
Also here, is Solo Assigns ‘Aux to faders’ or ‘Aux to Rotaries’. Thus, when an aux master is soloed that aux send is assigned to the faders. Another function that is duplicated on the master touchscreen. This feature provides a fast and simple method of using the D1 Live as a monitor desk.

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 16 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.

The comprehensively-equipped 38 x 8 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. The touchscreen gives you control over all the matrix inputs via a dedicated rotary control and a switch.

The output matrix faders appear in a dedicated bank on the master section.

INTEGRAL DIGITAL EFFECTS
The D1 Live is equipped as standard with a powerful digital effects card that effectively eliminates the need for all but the most esoteric or specialised external effects processors.

The dedicated effects DSP engine allows up to six digital effects per channel to be run simultaneously, and has the processing capacity to support the simultaneous use of every effect on every channel without loss of performance or audio quality.

The first effect offers a range of dedicated reverb algorithms of exceptional quality, subtlety and depth. The next three provide flanging, phasing, double tracking, vocoder and digital delays. Effects five and six provide all of the above, plus extra digital dynamics, compression and equalisation, and up to 12 28-band graphic equalisers.

All routing, patching, effects parameter adjustments and user memory store and recall functions are performed on the touchscreens. All effects and their settings can be stored as part of the console’s user presets and sessions, and can be saved on the USB key for instant recall on another D1 Live.

INSERTABLE PROCESSING CHANNELS
The insertable processing channel (IPC) card, provided as standard with the D1 Live 40DP, 48DR and 56EX systems, adds features for theatre-style venue applications, AV, monitor mixing or overall system EQ.

This additional DSP card adds a range of features that allow the console to perform powerfully as a monitor mixer or for installation in a theatre or other venue, or for system EQ or room correction. It also effectively eliminates the need for racks full of processing hardware, saving considerable space and expense.

The IPC's facilities are displayed and controlled via the console’s backlit TFT touchscreens. When IPC mode is selected, the screen’s background colour changes to alert the engineer to this status.

The module provides a total of 16 IPC’s, each complete with 6 bands of fully parametric equalisation, a fully featured compressor / limiter and digital delay of up to 510 mS. An expanded equaliser view appears across the screen, and is linked to the rotaries for frequency, Q and level below the screen, so as to distinguish output EQ from input channel EQ.

THE IDEAS MACHINE
More innovations lie deeper. The DiGiCo DSP engine runs every channel continuously, regardless of assignment – giving you the benefit of just 2mS latency from analogue input to analogue output, equal on every channel at all times. Sonic performance is that of a thoroughbred with 24-bit converters providing an impeccable noise floor and up to 40-bit floating point internal processing delivering pure, smooth, rich musicality.

With the D1 Live 56EX, two consoles (typically house and monitor) can share a common fibre optic loop, providing automatic Gain Tracking™ which allows either console operator to alter input gain without affecting the mix on either console. There’s Ethernet support for console mirroring or a remote control PC.

A comprehensive range of I/O options allows you to tailor your D1 Live system precisely to your needs. The options allow for connection with a variety of external digital recording and outside broadcast and analogue or digital input signal formats, as well as interfacing with a wide range of installation systems.

The design team behind the D1 Live’s engineering had 10 years of experience with the Soundtracs family of digital recording consoles before the launch of the D5 Live family, of which over 100 were sold world-wide in the first year. The result is an innovative but widely proven technology platform with a wide user base and an ongoing development program that ensures your D1 Live will be a sound investment for the future.

The D1 Live from DiGiCo. A new world of mixing ideas.