Used, Second hand DiGiCo SD-Rack I/O Stage Box - Used Audio, Lighting and Video Equipment

ABOUT THE PRODUCT ABOUT THE MANUFACTURER GLOSSARY

SD-Rack

DiGiCo I/O enters the next generation

With support for up to 192kHz high resolution analogue I/O converters plus a comprehensive range of digital formats, it’s no wonder that the SD-Rack is accepted as the finest I/O rack available. From MADI to AES/EBU, Dante, AES-42, ADAT, or Aviom, the SD-Rack has it all.
Based on the same Stealth FPGA technology as the world-renowned SD-Range of consoles, the SD-Rack can run on the optical loop at 96KHz, while providing a down-sampled 48KHz feed from one of the MADI output streams ideal for a broadcast truck split. The result is industry-leading A/D conversion complete with DiGiCo’s famous Gain Tracking™, meaning all consoles benefit from +/-40dB of digital gain.
Once a user has set the gain on each channel, every console on the loop can Gain Track their own mixes, and if any tweaking of analogue gain settings is required then each Gain Tracked channel will automatically compensate to ensure the mix remains the same. Best of all, should clipping occur, any of the consoles on the loop can take control of an analogue gain and make the necessary adjustments without affecting anyone else’s mix.
The SD-Rack’s 14 slots give you up to 56 inputs and 56 outputs, and users can choose whether to include the Optocore optical fibre connectivity or connect the SD-Rack to the console using MADI. When running at 48kHz, the two MADI ins and outs provide 56 fully redundant input and output channels via duplicate connections. When running at 96kHz, the SD-Rack delivers a full complement of 56 channels of MADI across the dual MADI ports.
Lastly, for ease of use the SD-Rack offers hot swappable interface cards with are automatically identified and configured, plus a top-mounted, hot swappable power supply.
No matter the size of the rack you choose, up to 14 DiGiCo I/O racks can run on a single optical loop, while as many as 28 can be accommodated on a dual loop system. This, coupled with the ability for any of the five consoles that can sit on one optical loop to receive all inputs and individually address output slots on any rack, gives the engineer or system designer unprecedented versatility.

Features

14 card module slots (up to 56 inputs and 56 outputs)
10U Rack Mountable
Gain Tracking
Proven touring ready rugged design
Easily accessible, hot-swappable, redundant PSUs
Removable PSUs and MADI Pod for cleaning and repair
MADI Split outputs
Inbuilt SRC for MADI Split outputs
Flashing screen to indicate system OK from a distance
locked controls to prevent accidental setting changes
Internal Oscillator
Can be used as a standalone rack

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Used DiGiCo

DiGiCo is a British company, founded in 2002, that manufactures digital mixing consoles targeted for live audio mixing applications.DiGiCo's most current console lineup comprises the SD-Series of consoles, powered by Stealth Digital Processing.
Pioneered with their flagship SD7, Stealth Digital Processing describes DiGiCo's first use of a single large scale FPGA for audio processing. Combined with Tiger SHARC DSP chips for effects processing and control, this new technology allows an entire audio engine to occupy only a single PCB.
The SD7 continues to be the flagship of the range, with consoles derived from it targeting other market areas and sizes of application. Currently the rest of the range comprises the SD5, SD10, SD8, SD9 and rack-mountable SD11, listed in order of size. T (Theatre) and B (Broadcast) software is also available for selected consoles.
The use of a flexible FPGA processing engine allows dedicated software to be written, to further refine the consoles features and operation for specific applications. The SD7, SD10 and SD9 are available with the optional theatre upgrade package, with the SD7, SD5, SD10, SD9 and SD11 having the option of a broadcast package.
Legacy DiGiCo consoles include the D1 and D5 Live platforms, as well as the D5T theatre console and DS00 studio production and broadcast console. The D-Series of consoles used a modular DSP engine, combining multiple SHARC DSP chips to form a large scale audio engine, still the method by which virtually all digital console manufacturers design their products.

Efficiency Rating: Level of sound output measured at a prescribed distance with a standard input power. Efficiency rating standard is 1 watt (2.83V at 8 ohms) at 1 meter over a specified frequency range and is measured in decibels.

Equalization: Loosely, any type of relative frequency adjustment. Specifically, the process of changing the frequency balance of an electrical signal to alter the acoustical output.

Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both.

Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.

Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it’s in phase with the input and negative when it's out of phase.

FM: Frequency Modulated.

Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details.

Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level.

Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.

Gain: Increase in level or amplitude.

Gooseneck: This refers to a microphone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.

Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies lowering sliders cuts (attenuates) the affected frequencies.

HDCP: High-Bandwidth Digital Content Protection. Created by Intel, HDCP is used with HDTV signals over DVI and HDMI connections and on D-Theater D-VHS recordings to prevent unauthorized duplication of copyright material.

HDR: Hard-Drive Recorder. Device that uses a computer hard drive to store compressed digital audio and video signals.

High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.

Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.

Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.

Integrated Amplifier: A combination preamp and amplifier.

Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.

KHz: Kilohertz or one thousand Hz.

Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.

Line Array: A group of speakers that have been arrayed or ” built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.

Line-Level (Low-Level): A level of electrical signals too low to make the average speaker move sufficiently. Amplifiers receive line-level signals and amplify them to speaker level.

lockout: The final words of a segment used to signify the production’s conclusion.

Low Pass: A filter that lets low frequencies go through but doesn’t let high frequencies go through. Same as high cut.

MHz: Megahertz, or 1 million Hz.

Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies.

Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range.

Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.

MLP: Meridian Lossless Packing. Encoding format that is able to completely reconstruct the original signal at the receiving end. No information is lost or discarded, regardless of how trivial it might be. Used to encode six channels of high-resolution audio on DVD-A.

Mono: Monophonic sound. One channel.

MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers.

Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.

Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.

Nonlinear Editing: Digital audio systems that allow for clips to be extracted without affecting the master recording.