In among the equipment debuts were one or two significant corporate manoeuvres. In the making of Digico's D5T, an offshoot of the D5 Live designed for theatrical production and launched on the first day, Autograph Sound Recording figurehead Andrew Bruce both contributed ideas and formed a US-based company to participate in the sales and distribution of the console. The company is called Autograph A2D, and Bruce was there for the launch. "As soon as I saw the D5 Live, I knew that it was the right vehicle for us to develop something digital for theatre use," he said after the presentation. "So we've given the operator 16 master faders in a row, slightly wider spaced than the eight-plus-eight on the D5 Live, and we've given the desk an off-line editor for the type of cue-lists we use in theatre. Live sound cue-lists are quite short: ours are typically 100-150 cues long. Arranging the console around these is what it's all about for us."

Transferring several cues per song as data into the existing D5 console would be laborious, so Bruce's off-line solution enables quicker uploading in spreadsheet form. Other ergonomic refinements include a script tray; macro interfaces for theatre-friendly control commands; and a row of brighter, 8-character LEDs for the Thespian gloom.In ministering his UK consultations through Autograph A2D, Bruce and his partners decided to trade intellectual copyright in the D5T's new architecture for exclusive rights to US distribution. "This is the big market," said Bruce, "although we will use our influence to promote the D5T worldwide, including the UK, of course. A2D is therefore simultaneously a UK consultancy and a US distributor, led by Lew Mead."

The D5T will be pressed into service when Les Mis relocates from the Palace Theatre in London's West End (destination TBA). This tried-and-tested production, it is said, will act as a dry run for the console before its more testing application in next September's opening of Mary Poppins.


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