The engineering duo behind Brit Award winner Rag’n’Bone Man’s summer tour have praised the flexibility of Digico’s SD7 mixing consoles on FOH and monitors.
FOH engineer Rob Sadler and monitor engineer Jamie Tinsley admitted that the SD7s were not a necessity for the tour – with input counts that could be handled by smaller consoles – but they were “happy” with the luxury that the SD7 affords.
On FOH, Sadler praised the versatile layout of the console. He told PSNEurope: “Probably the most useful function of the SD7 is how versatile the layout is. The dual sets of faders on the centre section mean that I can have VCAs, important aux sends/returns, pink noise, iPods and sends to the PA in front of me at all times.”
Tinsley, on monitors, added: “The most useful function for me for me has been all the little things the SD7 does that make the console so fast to navigate and work with. There is also the ease of using the snapshots and the macro capturing function.”
With six musicians on stage – including Rory Graham (Rag’n’Bone Man) and five backing musicians – Sadler and Tinsley are operating one SD7 rack each.
“I’ve been a big DiGiCo fan for as long as I’ve been mixing high-profile artists,” commented Sadler.
“I’m getting to know the sound of the band without getting hung up on the technical aspects. The Digico console lets me focus on mixing and not getting myself lost inside a new console. I enjoy how it sounds, too; it’s very natural and the Dynamic EQ available onboard the console means that third party plugins aren’t needed.”
The most useful function for me for me has been all the little things the SD7 does that make the console so fast to navigate and work with
While Sadler says the SD7 console has made mixing easier, the engineers have been striving to get the perfect vocal microphone for the demands of the tour.
“I’m still fairly new to this tour, but myself and Jamie have been trying out a couple of different vocal mics,” he told PSNEurope.
“Doing this during festival season has not been the easiest of challenges, but we felt that we had to find a mic that the artist felt comfortable with, as well as sounding good, without picking up too much stage noise.”
Tinsley concluded: “Other than having to find the right mic for Rory during a busy festival season, everything else has been very well organised and the gear supplied has been perfect, making for an easy set-up and show every day.”
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