AudioMedia - January 2009 - (Page 67)

AM 01|09 automation control section. In the centre of the console is the touch screen with all the GUI for the system. The colours are less bold than some of the other desks out at the moment, but easy to work with and memorable. The display of the channel strips are compact but easy to use and by touching what you want to edit, larger windows open for fine tuning. The screen works well, and is bright with an anti-glare finish ideal for outside festival situations. There are also a number of locations where the software harbours the scrolling technique now used on the iPhone, which is very natural. The complete SD8 system comprises of the console and its own stage rack for all the mic line and return connections connected to the desk on MADI. There are dual BNC MADI connections so should there be a failure on one, the system will automatically switch to the other. Most manufacturers are now giving this option, but what I really like is the fact that DiGiCo uses MADI which isn’t proprietry so you can connect other digital audio devices to the system. The MADI connections along with the laptop standing on top of the console means live recording is extremely painless with something like an RME MADI interface. There are also redundant power supplies on both the console and the stage rack. The standard Stage Rack provides 48 mic/ line inputs and eight line outputs that can be expanded to 24 if required. The pre amps are the same as all the D-series. The console can also work with any of DiGiCo’s D-series stage boxes to allow specific configurations of I/O if required. There is also 8 mic/line inputs, eight line outputs and 8 AES I/O on the console itself for anything like monitoring, external effects units, or talk back mics. New to the SD8 is the 20-LED metering bar graphs next to each fader for whatever that fader is controlling at that time, be it inputs, outputs, auxiliaries and so on. This offers much better metering than most live mixers, and is a view we are all used to. To keep a tab on all the tracks, both in and out, an overview screen can be connected. With the digital MADI connections, it allows the SD8 to be completely integrated into any setup with networking. i.e., you can have one stage rack being shared by two consoles, one for FOH and one for monitors. No need for splitters or pre amps drawing to much signal. What I really like is the ability to control remotely the surface via a laptop so any parameter can be controlled from anywhere in the venue for fine balancing. As the software for the desk is built on an embedded Windows XP operating system, you can network any laptop or PC to the console and install the same software as on the console for complete control. Not all desks offer this solution so easily. The software can also be used offline. This would suit touring engineers who want to make prior changes to a show’s settings or automation due to a change in the set, for example, before they even arrive at the venue. Show settings can be loaded on and off the console with any USB memory device. I n Use My first impressions of the desk was how well it could be configured to fit in line with standard ways of working without getting into too many complicated levels of preferences. DiGiCo has researched many desks, how engineers want mixers to work, along with many industry requirements, and has managed to deliver something that anyone would be comfortable to operate. Whether you’re an analogue/digital or a Yamaha/Midas-based operator, there are many functions and preferences in the SD that will follow on from your background to put you in your comfort zone. The desk can work as virtually and as digitally as you like, but also offers a straightforward layout from default. For instance, I really like touch sensitive faders, but some engineers find this annoying as they find themselves catching the wrong controls, and on the SD8 this can be disabled. It is the small attention to detail that makes this desk very comfortable to work with. Another example of this is the position and layout of the EQ and dynamics, which can be altered without looking. The desk is very flat and there aren’t any upright screens, keeping you in tune with the action on stage. The four-band parametric EQ on all inputs and outputs operates very smoothly and as you would expect. The colours make it easy to identify settings at a glance, and it sounds great with lots of headroom. Dynamics on each channel consist of one compressor and one gate. These are great dynamics, and DiGiCo has stuck with just the one choice of compressor > AUDIO MEDIA JANUARY 2009     http://www.sommercable.com http://www.sommercable.com

Table of Contents Feed for the Digital Edition of AudioMedia - January 2009

AudioMedia - January 2009 Contents Recording News Post News Broadcast News Geo Focus: India What's Up UK? Special Report: Pimp My Ride AKG C214 Sony Acid Pro 7.0 Final Cut: Mirror's Edge Opportunities in the Reality World She's Got the Look The X-Factor Sadie LRX2 Source Elements Source-Connect 3.1 Buying a Recorder In Control Product Sampler: Trade Shows Video Guide AMSR News Digico SD8 The Last Picture Show File Server

AudioMedia - January 2009

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