Used, Second hand DiGiCo SD10B Broadcast Audio Digital Mixing Console - Used Audio, Lighting and Video Equipment

ABOUT THE PRODUCT ABOUT THE MANUFACTURER GLOSSARY

SD10B

Trusted in studios all over the world

Redesigned to meet and exceed the demand of fast-paced, mission critical broadcast audio, the SD10B delivers a wealth of features derived from the renowned SD7B, including a complete 5.1 monitor matrix with 48×6 source-to-speaker selection multi-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.
Choose from two versions of the SD10B: 37 feature-packed channels arranged in three banks of 12 motorised faders and one master fader or 24 channels, providing the same power and functionality in a more compact frame. A familiar 15-inch backlit colour-keyed TFT touch screen forms the console’s super-intuitive central control interface.
Complex mixing tasks become second nature on the SD10B: you 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.

Under The Hood

The SD10B boasts 144 processing channels at 48kHz/96kHz, which is the equivalent of 108 channels of full DSP processing. Standard channel processing across both inputs and 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 Multiband Compressor) and DYN 2 (Gate, Compressor or Ducker).
The console also benefits from 218 powerful Dynamic EQ processors, working on each of the four standard parametric bands, plus there are also 218 Multiband Compressors and 218 assignable DiGiTuBes regardless of how the console is set up, you won’t lose any resources as all channels deliver the same pristine signal path and feature set.
The master section incorporates 24 gangable 32-band graphic EQs, 24 stereo effects, and 24 control groups (VCAs) using snapshots, you can switch between complete configurations in any live environment easier than ever before, be it at rehearsals, during system setup, or even mid-show.
The console’s 64 busses can be configured as groups or auxiliary busses and a 24×24 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 provide even deeper configurability. 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.

I/O

An abundance of I/O can be found on the rear of the SD10B, including eight mic line inputs, eight line outputs, eight mono AES I/O, two MADI connections with redundant cabling connections and 16 GPI and GPO connections – expandable to 32.
The SD10B 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 enhanced flexibility: when used with the Optocore interface, up to 14 SD-Racks and five redundant engine consoles can connect to one optical loop for an incredible 1,152 I/O connections (56 inputs and 56 outputs per SD-Rack). That’s enough to comfortably mix a Philharmonic orchestra.
Get instant access to 32 fully integrated low-latency Waves stereo MultiRacks, each with up to eight plug-ins per rack, by fitting an optional DiGiCo SoundGrid module linked to external SoundGrid or DiGiGrid servers, giving a total of 128 additional I/O.

Features

Faders 37 x 100mm Touch-Sensitive, Motorised
Screens 1 x 15” (38cm) LCD High – Resolution Touch Screen
Meters 38 x 20-Segment LED Bargraph
Input Channels 144
Busses 64 assignable that can be configured as groups / auxiliary busses + LR/LCR/LCRS Master Buss
Solo Busses 2 Stereo Busses
Matrix 24 x 24 Matrix (Additional to Busses Above)
Control Groups 24, selectable for VCA-style, Moving Fader, Mute Group
Graphic EQ 24 x 32-band, Gain +/- 12dB
Internal FX 24 Stereo FX Processors
Local I/O 8 x Mic/Line I/O, 8 x AES/EBU I/O (Mono)
MADI Interface 2 Redundant Interfaces, 75 Ohm BNC Connectivity
Standard Optics
MIDI Interface In / Out / Thru
VGA Port DB-15 Mini-Female (1024 x 768 Resolution)
USB Ports 3 x USB 2
Light Connection 2 x XLR3 1.2 – 12V
Ext Sync Word Clock, AES, MADI, Optics
Headphone TRS Unbalanced / 8-600 Ohms 1/4 Inch Jack
GPIO: 2 x DSub37
SD10 Dimensions 1398mm (w) x 818mm (d) x 285mm (h)
SD10 Weight 60Kg/132lbs (175Kg/385.80lbs with Optional Flightcase)
SD10 Flightcase 1586mm (w) x 1158mm (h) x 504mm (d) Weight 115Kg/253.53lbs (Optional)
SD10 Power Requirements 90-264 VAC, 47-63Hz Auto Sensing.235 watts

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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.