- 132 Input Channels
- 56 Aux / Sub-Group Busses
- LR/LCR/LCRS/5.1 Master Bus
- 24 x 24 Full Processing Matrix
- 2 Solo
- 218 Dynamic Equalizers
- 218 DiGiTuBes
- 218 Multiband Compressors
- 24 Digital FX
- 24 Graphic Equalizers
- Optional Waves Integration
- 48/96 kHz Sample Rate
- Standard Optics
DiGiCo SD10B: “Powers of Ten explained…”
Though identical in appearance to the SD10, the SD10B carries further weight as it has been developed for broadcast applications. In addition, broadcast-specific features include a complete 5.1 monitor matrix with 48 x 6 source to speaker selection; mutli channel folding; user defined stem order selection; Mix Minus busses (one per mono channel); backstop PFL (over press) and Auto PFL; and Audio Follow Video implementation.
Scratching the surface
There are two versions of the SD10B: a 37-channel version, which boasts three banks of 12 motorised faders and one master fader; and the SD10B-24, which has all the same power and functionality but in a smaller frame comprising 24 main channel faders and a master fader.
SD10B features three banks of 12 motorised faders and one master fader, each of which benefits from its own high resolution LED bar graph meter. In the centre of the worksurface sits the familiar 15-inch backlit colour-keyed TFT touch screen, home of the console’s super-intuitive control interface.
The sheer intelligence of the SD10B means even the most complex of tasks become quick and easy: engineers can recall or save presets on the channel strip; and recall or save snapshots using the master screen or hard wired switches on the console. In addition, special functions can be assigned and accessed instantly via the console’s 40 Smart Key Macros (accessible via four layers of 10 RGB backlit keys) at the push of a button. It really is that simple.
What’s under the hood?
The SD10B boasts 96 processing channels (12 of these are Flexi Channels, configurable as either mono or stereo) at 48kHz/96kHz, which is the equivalent of 108 channels of full DSP processing.
Standard channel processing, whether inputs or outputs, includes Channel Delay, Single and Multi Channel Presets, Dual insert points, Hi- and Lo-pass filters @ 24dB/octave, four-band parametric EQ with band curve selection, DiGiCo’s DYN 1 (Compressor, De-esser or assignable Multi Channel Compressor) and DYN 2 (Gate, Compressor or Ducker).
The console also benefits from 218 Dynamic EQ processors, all of which can be assigned to any of the input or output channels. These powerful processors offer Dynamic processing on each of the four standard parametric bands, plus there are also 218 Multiband Compressors and 218 assignable DiGiTubes; and no matter how the console is set up, the user won’t lose any resources, as all channels are equipped to provide the same high quality signal path and feature set.
The master section incorporates 24 gangable 32-band graphic EQs, 24
stereo effects (selectable from a palette of 33), and 24 control groups (VCAs);
and using snapshots, engineers can now switch between complete configurations
in any live environment easier than ever before, be it at rehearsals, during
system setup, or even at a show.
We’ve included 56 busses, which can be configured as groups or auxiliary busses; and in addition to these busses, for further configurability, we’ve provided an 24 x 24 output matrix, dual solo busses for PFL and on-air soloing in mono, stereo LCRS and 5.1; and an LR/LCR/LCRS/5.1 Master buss.
Unlike all other digital console manufacturers, you don’t lose Aux or Group Busses when using the Matrix as they are in addition, including the Master buss.
At the rear of the SD Ten, there is an abundance of local I/O: eight mic inputs, eight line inputs, eight mono AES I/O, two MADI connections with redundant cabling connections; and 16 GPI and GPO connections with the option to expand to 32 GPI and GPO.
The SD Ten also works seamlessly with the DiGiCo SD-Rack, which delivers up to 192kHz high resolution analogue conversion. This opens the door to a wealth of interfacing options and provides the user with even further flexibility: when used with the Optocore interface, up to 14 SD-Racks and five redundant engined consoles can connect to one optical loop, which means a massive 1152 I/O connections are achievable (56 inputs and 56 outputs per SD-Rack).
In short, you could mix the Philharmonic on this – comfortably.
In addition, there is an optional DiGiCo SoundGrid module which, when linked to an external PC server such as SoundGrid or DiGiGrid, provides the user with instant access to 16 fully integrated low-latency Waves stereo Multi Racks, each with the ability to have up to eight plugins per rack. That’s 64 I/O – and as you’d expect from DiGiCo, this is all additional I/O.
All Waves compatible plugins are pre-loaded, and as this is integral within the console, you have the added advantage of touch screen control; and all shapshots and session files are saved within the console.