Studiomaster DigiLiVe16 User manual

digiLiVE Digital Mixing Console
Quick Start Guide
Issue 1.0

Introduction
This Quick Start Guide is intended to help you do just that – to get going with your digiLiVE as
quickly as possible. The Guide will show you how to connect your microphones, instruments or
other audio sources to the console, how to connect speakers in various ways and how to create
a basic mix. It goes on to show you how to enhance your mix by adding gating, compression and
reverb, and explains how your digiLiVE can be used as a monitor mixer. Finally, it shows you what
to do to control your digiLiVE remotely from a compatible iOS device.
IMPORTANT: This Quick Start Guide is not intended as an alternative or replacement for the full
digiLiVE User Guide, which will either be in the box with the console, or available to you as a free
download. As you work through the simple operating examples in the Quick Start Guide, you’ll
almost certainly notice that the console includes a great many features and possibilities that are not
covered here. Once you’ve mastered the basic principles of operation explained in the Quick Start
Guide, you should refer to the User Guide for full details of how to use all the additional facilities.
Unpacking your digiLiVE
Unpacking the digiLiVE you’ll nd the following (in addition to this Quick Start Guide):
• digiLiVE console
• Console PSU
• IEC power cable
• Wi-Fi dongle
• User Guide*
* may alternatively be available as a download from www.studiomaster.com

Powering your digiLiVE
Your digiLiVE is powered from the 12 V DC power supply (PSU) packed separately in the carton.
Never use any other PSU: your warranty will be invalidated if you do. Connect the PSU to the AC
mains supply with the cable supplied; it can operate on mains voltages from 100 V to 240 V. When
the PSU is connected to AC mains, a blue LED on the PSU lights. The DC output cable should be
plugged in to the 12V/DC INPUT socket on digiLiVE’s rear panel.
Once connected, digiLiVE starts its boot-up sequence as soon as you turn the AC mains on; this
takes approximately 30 seconds.
The Power button has several functions:
• A short press (less than 3 seconds) when the console is ON places it in SAFE mode. The screen
and all other displays turn o and the controls become inoperative, but audio will continue to be
passed with all console settings retained;
• A short press when the console is in SAFE mode returns it to its normal operating state;
• A long press (more than 3 seconds) when the console is ON turns it o;
• A long press (more than 3 seconds) when the console is OFF switches it back on.
Whenever digiLiVE powers down, all current console settings are saved. Next time you power it
up, digiLiVE will have exactly the same settings you last used.

Connecting speakers
Connect powered speakers to the two rear panel XLR sockets MIX OUTPUT L & Rusing suitable
cables. All the main outputs on digiLiVE are at standard line level and are electronically balanced.
If you’re using passive speakers with one or more separate ampliers, connect digiLiVE’s outputs
to the amplier inputs.
NOTE: It is always good practice to turn on interconnected audio devices in sequence. In this case,
turn digiLiVE on rst, then turn on your powered speakers or power amplier(s). When powering
down, turn the speakers or amplier o rst, then turn digiLiVE o. Observing this sequence will
avoid nasty loud bangs or thumps from the speakers.
Connection to passive speakers Connection to active speakers

ADJUST, MUTE and SOLO
In the Application Examples in this Quick Start Guide, you’ll need to navigate around digiLiVE’s
touch-sensitive screens, make selections and adjust various parameters.
Most digiLiVE adjustments – apart from fader movements, mutes, etc. - can be made using the
large rotary ADJUST knob. The parameter being adjusted will be indicated on-screen by a yellow
border around its control; to select a parameter for adjustment, touch its control on the screen.
In the example below, the ADJUST knob will pan the signal in Channel 1 between the left and right
stereo channels.
Press a channel MUTE button to mute the channel and again to unmute. You can plug headphones
into the socket marked and use the SOLO buttons to listen to one or more input channels
while setting up the mix. Pressing SOLO does not alter the main output mix.

Application Examples
The examples shown here use digiLiVE’s basic “out of the box” factory default settings. All of the
situations described can be expanded upon in various ways by using digiLiVE’s many additional
features; please consult the User Guide for more detailed descriptions.
IMPORTANT: Always start setting up your live sound application with digiLiVE’s faders fully closed
(at their bottom position) and all the rotary GAIN controls (at the top of the mixer) fully anticlockwise.
This should ensure that no bangs or thumps will be heard from your system while you’re setting
everything up.
Application Example 1 – solo performer
This simple application would be suitable for a solo performer, e.g., a singer/instrumentalist. It would
also be appropriate for an AV situation such as in a school classroom, or anywhere a presenter is
using a laptop or similar audio source as part of his/her presentation.
INSTRUMENT
(via mic, DI box or from
Line Out on amplifier)
MIC
LAPTOP, TABLET, ETC
POWERED SPEAKERS
(L & R)

Connecting up
Connect your speakers or power amplier to the MIX OUTPUT L & Rsockets as described
previously.
Plug the vocal microphone into MIC 1 input. Note Inputs MIC 1 to MIC 4 are “Combo” type sockets
which can accept either a male XLR connector or a jack plug (TRS or TR). Microphones intended
for live use will usually be the dynamic type, but in some AV situations condenser mics may be in
use; in this case, phantom power will need to be turned on for this input channel (see below).
Use Input MIC 2 for the instrument. Acoustic instruments such as acoustic guitars will need to
be mic’d up. An electroacoustic guitar can either be connected directly using a standard guitar
lead if it has sucient output level, or via a DI box. For amplied instruments, place a mic in front
of the amplier or use a DI box between the instrument and amplier to obtain a mic level signal;
alternatively, the amplier may have a “Line Out” socket which can be plugged into the mixer input
directly.
If you need to use a stereo source such as a laptop, tablet or similar audio device, it is most easily
connected to STEREO input 2, which is available both in the form of a 3.5 mm jack socket and
separate left and right ¼” jack sockets.
Making a mix
digiLiVE’s default conguration allows you to create a stereo mix simply by setting input channel
gain and then opening the channel and main faders. On switching on, INPUT 1-8 is selected in
the Layer section (note the button is lit), so the input channel faders, MUTE, SOLO and SELECT
buttons control Inputs 1 to 8, and the screen display shows Channels 1 to 8.
INPUT GAIN CONTROLS
INPUT METERS
INPUT CHANNEL FADERS MIX OUTPUT FADER
LAYER BUTTONS
MIX METERS

If you are using a condenser mic, press the SELECT button for Channel 1, and then tap the Input
Stage area of the highlighted channel (the topmost area, labelled Mic IN).
Touch the 48V button to enable phantom power for Channel 1. Touch the red cross (top right-hand
corner of the screen) to return to the Channels 1 to 8 page.
The 48V indicator at the top of the on-screen channel strip turns to red to remind you that phantom
power is on.
IMPORTANT: Only turn phantom power on when condenser mics are in use. Do not turn it on for
any other type of source (however, phantom-powered active DI boxes are an exception to this rule).

Adjust the GAIN control for Channel 1 while speaking into the mic. You will see an indication on
Channel 1’s input meter, which is duplicated by a smaller on-screen meter. A good setting is when
the meter just turns yellow on loud passages.
Set Channel 1’s fader to about the zero mark and move the MIX OUTPUT fader upwards. You
should hear the vocal mic when speaking into it, and see a level indication on the MIX meters.
These meters monitor the console’s output, which is feeding the speakers.
Repeat the above procedure for Channel 2, which is receiving the signal from the instrument.
If you are using the STEREO 2 input for an audio source as described in “Connecting up” above,
press the LAYER button marked INPUT 9-12 ST-USB.

The input channel faders, MUTE, SOLO and SELECT buttons now control the remaining input
channels and the screen follows the selection. STEREO 2 is controlled by Fader 6: note that the
panel is marked ST2 adjacent to the fader.
Set the input gain and open the channel fader in the same way as described for Channels 1 and 2.
Channels on dierent layers are completely independent; you merely have to switch between layers
to access the controls for each.

Application Example 2 – small band
Creating a stereo mix for a small band is simply an extension of Application Example 1. This
example would also be suitable for applications such as Houses of Worship.
digiLiVE has 12 mono channels to which microphones or line level sources can be connected
using XLR connectors: the rst four of these can also accept ¼” jack plugs. In addition to these 12,
there are also two stereo channels (accessed via Layer 2).
Connecting up
Amplifying a band will typically involve microphones, DI boxes and line level sources. Connect the
various sources to the rear panel XLR/Combi inputs: bear in mind that Channels 1 to 8 are on the
rst fader layer while Channels 9 to 12 and the stereo channels are on the second, so it may be
convenient for mixing to have critical audio sources on the same layer.
Stereo line sources (such as synths or DJ decks) may be connected to the rear panel inputs
STEREO 1 or STEREO 2.
MICS
DI BOXES
BASS
SYNTH
WORKSTATION
GUITAR
SAX
(MIC)
ELECTROACOUSTIC
GUITAR
POWERED SPEAKERS
(L & R)

Enable phantom power as necessary for any condenser mics or phantom-powered active DI boxes
as described in Application Example 1.
Making a mix
The factory default settings of digiLiVE let you mix directly to the stereo output, so it is only
necessary to adjust the GAIN controls for each input in use and open the input and MIX OUTPUT
faders.
White bars indicate fader positions (0 dB in this example).
ST1 and ST2 faders are also set to 0 dB.

Application Example 3 – adding a monitor mix
A small band may require one or more monitor mixes in order that band members can hear
themselves and other players as they wish. digiLiVE lets you create up to six additional mono
monitor mixes.
Connecting Up
Using the small band setup in Application Example 2, connect powered “wedge” monitors (or
the radio transmitters of an in-ear monitoring system) to any of the XLR OUTPUTS 1to 6. For
simplicity, we have just added a single monitor mix (using OUTPUT 1) for the lead singer in the
example shown: additional monitors may be added in exactly the same way using further outputs.
MICS
POWERED
MONITOR
DI BOXES
BASS
SYNTH
WORKSTATION
GUITAR
SAX
(MIC)
ELECTROACOUSTIC
GUITAR
POWERED SPEAKERS
(L & R)
OUTPUTS 1 to 6 are electrically identical (balanced, same level) to the two MIX OUTPUTS.

Making a monitor mix
The main PA speakers use digiLiVE’s L& Rmix busses, which with the console’s default routing,
are connected directly to the MIX OUTPUTS. To create a separate monitor mix, one of digiLiVE’s
further eight mix busses is also used.
1. With the main screen for Channels 1 to 8 displayed, press the SELECT button for the lead
singer’s mic (we assume this is Ch. 1).
2. Touch the blank area above the CH 1 ident strip.
3. This opens the Bus Send sub-page for Channel 1.

4. Touch (switch on) the Bus 1 button: this sends the mic signal to the bus. Drag the on-screen
Bus 1 fader to zero.
Note the PreFader button; this means that the level sent to the monitor will be independent of the
channel fader setting. You can continue to adjust your FOH mix without altering the monitor mix.
5. Close the Bus Send sub-page. You have now set a “send” level from the input channel. Next
you have to turn up the Bus Master level to set the level that actually leaves the console. Press
the BUS 1-8 LAYER button.
Note that the Bus 1 channel strip now shows that it is receiving a send from Channel 1: the small
blue bar indicates the level set in Step 4. Raise the fader (which now controls Bus 1’s output level);
you should be able to hear the vocal mic in the monitor.

Press the INPUT 1-8 LAYER button to return to the Input Channels Page. Note that Channel 1 now
also has a small blue bar indicating the level that is being sent to Bus 1.
6. If the lead singer needs to hear other performers in his/her monitor mix, repeat Steps 1 to 4
above for each of the other vocalists or instruments needed. For example, if the singer needs to
hear the electroacoustic guitar in the example, select Input Channel 4 in Step 1, and send some
of its signal to Bus 1 in exactly the same way.
You can build up a monitor mix like this with as many instruments as required. The overall level
being fed to the monitor is controlled by Fader 1 in the Bus 1-8 layer: the individual contributions
to the monitor mix are controlled by the Bus 1 Send levels on the Routing pages for each input
channel.

Application Example 4 – using digiLiVE as a dedicated monitor console
digiLiVE may also be used as a dedicated monitor console if the band has a separate FOH mixer
or is using the house PA system.
Connecting up
In this situation, all eight outputs (OUTPUTS 1 to 6and MIX OUTPUTS L & R) are available for
use as monitor feeds. Therefore you can create up eight mono or four stereo monitor mixes, or a
combination of the two.
IEM
TRANSMITTER
(STEREO)
POWERED
MONITOR
3
POWERED
MONITOR
4
POWERED
MONITOR
2
POWERED
MONITOR
1
SIDE FILL SIDE FILL
FREQ
POWERED
MONITOR
4
In the example shown, we are using four powered wedge monitors are at the front of the stage,
plus two side lls; the lead vocalist is using an in-ear monitoring (IEM) system. Connect the wedge
monitors to OUTPUTS 1 to 4, the IEM transmitter to OUTPUTS 5 and 6 and the side lls to MIX
OUTPUTS L and R.
Making the mix
digiLiVE’s faders have a fourth “layer” or mode – SENDS, which works in a dierent manner to
the other layers, but is ideal for this application. To select Send mode you must rst select an
input channel by pressing its SELECT button. Selecting SENDS only aects the faders and MUTE
buttons; the screen display remains unchanged.

When Send mode is selected, the faders become the Bus send level controls for the selected input
channel: Fader 1 controls the level sent to Bus 1, Fader 2 controls the level sent to Bus 2 and so on.
In this layer only, the MUTE buttons become “ON” buttons: press Bus 1’s MUTE button to turn the
output on. Once on, a small blue “Bus 1” bar appears in the send section of the channel indicating
the send level.
Touching this section opens up the bus send display for channel 1, providing increased detail for
all the channel’s bus sends.
It is now easy to set how much of the instrument or vocal in the input channel should go to each
of the busses, and thus to each output. You can “scroll through” Channels 1 to 8 by pressing the
SELECT buttons in turn; Then by selecting the second layer (INPUT 9-12 ST-USB) the remaining
input channels.

FADER LEVELS DEFINE
MONITOR MIX TO
OUTPUT 1
INPUT
CHANNEL 1
SELECTED
LAYER 1 AND SEND
MODE SELECTED
FADER LEVELS DEFINE
MONITOR MIX TO
OUTPUT 4
INPUT
CHANNEL 4
SELECTED
LAYER 1 AND SEND
MODE SELECTED