Like the larger D5 Live, the D1 Live’s innovative control surface has been designed from the ground up for sound engineers by sound engineers. Virtually every feature is either there to see at a glance, or at most a single, logical fingertip press away. The three interactive LCD touchscreens are laid out as you would expect to find the facilities on an advanced analogue console, with instant access to virtually every function. In the heat of the moment in live performance, the console can be as responsive as you are.

This intuitive approach also means that, despite providing powerful digital dynamics, effects, total recall, a 38x8 output matrix and 40 multi-configurable internal busses, the learning curve for an engineer new to the board is surprisingly short. The 25-fader worksurface is divided into two input sections, each with its own touch screen and single-touch selection of each of the six fader banks, while the right-hand master section and screen, controls the master and matrix sections and console set-up.

The touchscreens are pressure sensitive to avoid accidental changes being made, requiring the screen to be pressed lightly to select a control or change a setting. This type of tactile feedback is consistent throughout the desk, and contributes to the feeling of security and predictability in mixing. Each screen shows the settings of eight input channels simultaneously, with interactive control over all functions per fader strip via a combination of LCD buttons and ‘real’ controls, while an input channel overview can be displayed on the master screen.

Each D1 Live input channel has its own remote mic pre amp analogue input gain and digital trim with Gain Tracking™ switch and presets for the whole channel, along with phase reverse, phantom power, sixband EQ and a delay function which allows you to add up to 240mS of delay per channel.

Each channel has four bands of fully parametric 20Hz-20kHz EQ, while the upper and lower bands can be switched between different curve types and shelving characteristics. On top of that are dedicated high and low pass filters, and a preset library which allows you to save an almost unlimited number of EQ presets for instant recall.

The dynamics section for each input channel is called up with another press on the screen, displaying all the settings for the compressor / limiter and gate, and a powerful sidechain equaliser which allows frequency-conscious dynamics. The same press assigns that channel to the group of dedicated dynamics rotary controllers alongside the screen. The sidechain EQ can also be allocated to the compressor or the gate, providing a wide range of uses including highly effective de-essing. The section is accompanied by a dedicated user preset library.

In addition to easy access to any of the 40 busses, Auxiliaries and ituitive operation of 5.1 sound the Master Section features a a row of large backlit liquid crystal buttons, one at the top of each physical fader. The buttons feed back information about what that individual fader is doing, using a combination of text and backlight colours which change automatically according to the button’s status. The button displays channel number, mono or stereo status, whether the button is currently acting as a solo, fader to aux, safe switch, fader gang, and a fader level readout accurate to 0.1dB, which appears the instant a fader is touched

Alongside these buttons is the LCD assign button, displaying the liquid crystal button’s various functions – Solo, Safe (which removes the fader from a snapshot and turns the button red as an alert), Aux Send to Master Faders, Fader Ganging, Name Only and Revert To Solo. The Gang function allows similar channels to be locked together in a gang so that level, EQ and dynamics settings can be applied to all of them simultaneously, confirmed by a coloured line in the touchscreen. If, for example, multiple channels require the same high pass filter settings, it’s simple to gang the channels and make a single EQ adjustment. Fader assign and solo assign are further ways of assigning the channels to the hardware controls.

The D1 Live’s store-and-recall functions are comprehensive, providing both an almost unlimited number of desk status ‘snapshots’ and the ability to build these into complete scenes. All of these, along with their associated EQ, dynamics and optional effects preset libraries, can then be transferred to another D1 Live or D5 Live via the USB key.

Snapshots can be triggered either manually or automatically, and can be self-timed for automatic sequencing. The feature also allows you to decide which controllers on the channel will change including input gain and more! Direct send routing can also be changed with the snapshot. This is where you can make automated fader bank changes to prepare for the next band on stage or the next song. It also controls fader ganging, control groups and cross-fade times between snapshots.

The on-screen scroller provides fast access to group, master output and auxiliary output routings, and a touch on the screen displays current routing settings. Each output has a brick-wall master limiter with variable threshold and variable release time, along with routing to allow the buss to be routed to as many of the outputs - analogue or digital - as desired. There’s also an output buss insert point for an external processor. Auxiliary outputs are handled in exactly the same way with an additional pre/post fade switch.

The auxiliary master outputs are assigned here to the physical faders on the master fader bank. The master bank provides eight master faders which can be assigned as matrix outputs, group outputs, auxiliary outputs and control group masters.

Also here is Solo Assigns ‘Aux to faders’ or ‘Aux to Rotaries’. Thus, when an aux master is soloed that aux send is assigned to the faders. Another function that is duplicated on the master touchscreen. This feature provides a fast and simple method of using the D1 Live as a monitor desk.

Here you have the option of either VCA-style fader control in which the individual faders remain in position when the VCA group fader is moved, or digital-style in which all the moving faders physically follow the group fader. The choice of working method is yours; their functionality is identical.

There are 24 control groups (V4 software), these can be moving fader or VCA style and can be assigned to inputs, outputs or both. Making a channel part of a group simply requires selecting Touch and then touching all the faders required for the control group. Further touches add or remove each fader from the group. Channels/busses can be assigned to multiple control groups, which also appear on screen.

The comprehensively-equipped 38 x 8 output matrix allows any channel, buss or physical input to be routed into the matrix, and then routed out to any of the physical outputs. The touchscreen gives you control over all the matrix inputs via a dedicated rotary control and a switch.

The output matrix faders appear in a dedicated bank on the master section.

The D1 live has eight user-definable Macros below the master screen, which can fire either individual or multiple functions on the console. This allows the operator to create user presets that handle multiple functions at the press of one button.

Access is available to any of the 40 busses, each of which can be assigned as either auxiliary busses or group busses. Auxiliaries can also be assigned to faders, allowing a visual feedback of aux levels by channel at the master fader section. The console is capable of stereo, LCR (S) and 5.1 mixing, and two 5.1 joystick panners provide instant sound image control.

Two additional features simplify multiple operations. The All button allows you to apply changes to all channels displayed on that screen, or to automatically route input channels sequentially – a very fast method of routing a complete block of inputs to the console surface. Two more features simplify multiple operations. The All button allows you to apply changes to all channels displayed on that screen, or to automatically route input channels sequentially – a very fast method of routing a complete block of inputs to the console surface.