D-Tube

The World's First Integrated Digital Tube Mic Preamp

Valve/tube technology has long been considered an elegant means of reproducing music. Until now, the large dimensions of the traditional 19-inch rack mount valve/tube pre amps have been a consideration, especially in the touring market where space is often at a premium. Not to say tubes sound better but they do colour the sound of a vocal or a particular instrument and make it sound different. Typically, sound engineers like to experiment, so they insert them into their systems to provide characteristics they can’t otherwise get from either analogue or digital mixing consoles. The new DiGiCo D-TuBe presents a unique alternative to this traditional technology by making it part of a digital console. This is true valve/tube-based technology, not a software emulation.

The D-TuBe was developed in conjunction with TL Audio and supplies no less than eight channels of tube pre amp. It has been designed to fit neatly into existing DiGiCo systems by simply replacing the last input module on a stage rack and moving the output module along one. This keeps the full complement of 56 inputs to the stage rack, with the last eight inputs now being TuBes.

As the D-TuBe is able to slot into the Stage DiGiRack, it has the shortest cable length between the mic and pre amp possible, giving exceptional signal to noise ratio. It has the same facilities as its solid state counterpart, including analogue and digital gain controls with Gain Tracking™. As the analogue gain is inserted before the D-TuBe it also acts as a drive control, and with digital gain after the D-TuBe a wide variation of colouration (DiGistortion™). And, as is standard on all DiGiCo products, these settings can be saved as part of the consoles snapshots and sessions.


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The D5 is one of those conceive it and it can be done digital desks. Its flexibility is truly amazing and it is also quite easy to use. The intuitive layout has even made a fan of our support acts engineer, who was previously not into digital desks at all.
Adam Robinson - FOH Engineer - They Might Be Giants

I have used a DiGiCo console on numerous other tours. First and foremost the console has to sound good. For me this is the most important feature. Working with someone like George Michael means the sound requirements are very exacting. The desk has to deliver a sonic image as close as possible to that of the original CD. I think DiGiCo has produced a digital desk that is sonically on a par with any of the top of the line analogue desks. The transition from analogue or other digital consoles is very straightforward.
Gary Bradshaw - FOH Engineer George Michael

I had all incoming channels double patched into the D5 to have two different mixes - one for the front system, the other for the in-ear monitoring system. To differentiate easily between the mixes, I put the channels on different layers, which means I was still able to retain clarity for both mixes. The separated mixes had their own EQ and dynamics, so I could also do adequate and individual settings for the monitor system. In this particular situation, one D5 digital console could fulfil all requirements to the complete satisfaction of the band and the audience.
Roger Wagener - FOH & Monitor Engineer for Texas Lightning

Using the D5T meant that I was able to handle all 96 inputs without having to be dependant on a sub mix from the Front of House console
Claus Pedersen - Matador