Review: DiGiGrid

GLEANING THE CUBES

If you’re adding to an existing SoundGrid network, setup will be a doddle. However, for newbies to SGS, most of the action takes place on the ‘Setup > Setting’ page and the ‘Device To Device’ page of the Patch tab. The SGS window is not fully scalable to fullscreen so depending on the number of attached devices you may find yourself scrolling around to find patch points. While this is a bugbear of mine — as is the absence of signal metering within the patcher to aid channel identification — the system’s ability to scale to hundreds of inputs means scrolling may become inevitable, and incorporating hundreds of live signal meters would significantly tax the CPU.

Patching is simply a matter of checking the appropriate boxes but it’s worth noting that while you can send one source to multiple destinations the patcher is not capable of bussing multiple sources to a single output. Also, unlike the rackmount DiGiGrid interfaces, at present none of the new devices support any form of remote control, which seems counterintuitive given the promise of networking remote I/O over the SoundGrid protocol. Seeing as the actual devices don’t sport endless rotary encoders or digitally-controlled preamps, this will be a lasting omission. DiGiGrid told us the analogue front end was a design decision to realise best audio performance, and that introducing digitally-controlled mic amps would take away some of the system’s simplicity. It’s a perfectly adequate explanation for home-oriented, single unit users. However, given DiGiCo’s high-end consoles and the rest of the DiGiGrid rack range relies on digitally-controlled preamps, it appears they’re audio quality is sufficient. While it seems DiGiGrid is positioning these boxes as entry points into the SoundGrid/DiGiGrid family, not including digitally-controlled preamps only shortchanges the system’s promise to expand via remote I/O points.

Without a SoundGrid server connected, the desktop devices do not support low latency pre DAW-created monitor mixes. The lack of onboard DSP makes them limited when used as standalone interfaces; particularly when you consider their retail pricing in a flooded market.

As some consolation SoundGrid does allow you to nest third-party Core Audio and ASIO drivers within their network, via SG Connect. I would generally insist that the differing devices share a Word Clock connection — with ASIO I found this to be prerequisite — but I was able to add some Lynx Aurora Thunderbolt-connected converters to a [D]-based SoundGrid system, when testing on an iMac. While the latency performance of the Aurora was significantly compromised I can imagine situations where a similar combination of devices could be invaluable (for example, sending and returning reverb chamber channels to unusual spaces using a single Ethernet cable).

D IS FOR DESKTOP

While [M] and [Q] are more limited, I’d describe [D] as the entry point of the DiGiGrid line. With two phantom-powered microphone inputs on XLR, two TRS line/instrument DI inputs, four TRS outputs and a headphone amplifier (with its own ‘big-knob’ volume control and metering), the [D] provides a practical solution to all of your basic recording requirements. A low cut and polarity inversion switch on the mic channels round out the standard features. As a tabletop device I’d love to have seen further connection options on the front face of the unit. The Master channel LED meters are configured pre-fader, differing from both the [M], [Q], and the [D]’s own headphone metering. If possible, this is one of a few options I’d like to see software switchable. With the master knob approximately positioned at 12 o’clock (no markings meant I was estimating somewhat) the output of the unit was equivalent to the loudest ‘+8’ setting on my RME converters. Not far beyond this the outputs began to distort, meaning a significant range of the knob is wasted.

The [M] is intended for musicians and is basically a baby two I/O version of the [D], with a single DI, mic channel and headphone amp. Notwithstanding the clear design focus, I’d have found a dual channel unit with switchable mic/DI channels to be more flexible and a great little stereo all-rounder.

Finally, the [Q] is a multi-input headphone amplifier (presumably with cue mixes in mind) with both ¼-inch and mini-jack outputs on the front panel. It’s either/or here, with the full-size socket disconnecting the smaller. On the rear are three of the four input connections (AES/EBU on XLR, analogue RCAs and the Ethernet port) with Bluetooth rounding out the source options. Input selection is achieved by pressing the Master knob with the otherwise-hidden selection labels backlit by coloured LEDs. Annoyingly, until a Bluetooth device is paired two LEDs flash incessantly, even when monitoring other sources. I think [Q] is a fantastic audio utility for any studio, irrespective of the level of SoundGrid investment, yet, as with [M], the inclusion of additional options — a pair of balanced outputs, perhaps — would only have expanded such utility.

TICKING BOXES

While I might be a little frustrated by certain design choices I cannot seriously fault these boxes when it comes to audio performance. SoundGrid’s roundtrip latency is not quite up there with my records of the best performing interface/driver combinations but it falls well and truly within the next pack. Surprisingly, I even found that these units slightly outperformed the rackmount DiGiGrid IOS.

Using Radial splitters, I recorded a quick demo track via the [D], [M] and a range of DIs and preamps from Radial, Universal Audio, Phoenix Audio and Quad Eight. All gain levels were calibrated using test-tones and accurate metering so barely any post recording level matching was required. The [D] and [M] recordings are as close to identical as you could hope for and comparisons with the other channels was relatively favourable. This type of test always makes me question how I’ve allocated my studio budget and while you can clearly differentiate between the unmixed recordings, with the DiGiGrid DI channels in particular having a more emphatic top end, I wouldn’t hesitate to use either interface to access some new corners of the property.

All headphone outputs are amply powered and when compared with the other monitoring options on hand, preferences were more often determined by the combination of source material and headphones. In isolation these units may lack the flexibility and software features of comparably priced audio interfaces but within a broader SoundGrid network they’ll stand level with most other devices you’re likely to connect.

JUST DESSERTS

For a few logistical reasons, my introduction to SoundGrid has ended up being a little topsy turvy. These new modular DiGiGrid units expand and complement an existing audio network platform founded upon a strong reputation in DSP. If you’re looking for an AoE system that also distributes DSP, there’s no other game in town. However, while the DiGiGrid desktop devices are simple to use, sound great, and offer standalone functionalities that will be useful to many, they are perhaps more of a sweet reward for those already fully immersed in SoundGrid than a tasty lure for the uninitiated. One warning though, like one of Zumbo’s macarons, if you take the bait it may be difficult to stop at just one.