Live Sound
Sponsored by

DiGiCo On Tour With Justin Timberlake

Clair Global provides Andy Meyer and Paul Klimson dual SD7 consoles for front of house and monitors on worldwide Man of the Woods tour.

By PSW Staff November 1, 2018

The DiGiCo SD7 desk at Man of the Woods’ FOH mix position

Mix engineers Andy Meyer and Paul Klimson are both utilizing DiGiCo consoles supplied by Clair Global on Justin Timberlake’s current Man of the Woods world tour.

“The SD7 offers an input count, flexibility, and sonic clarity that is unsurpassed by other platforms,” opens Meyer, whose DiGiCo SD7 console is receiving 200 input paths at front of house, with 138 outputs. “I’ve got snapshots for changes that I want to make, and I fire it all off of time code. I used to do it manually, and I have foot switches to do it, just in case.”

FOH engineer Andy Meyer mixing Justin Timberlake’s current Man of the Woods tour on a DiGiCo SD7 console

The snapshots are starting points, Meyer explains, as throughout the performance he’s making slight adjustments: “I don’t EQ the system, I let the system be the system, and I fix it in snapshots. If there’s a frequency bugging you, you find out what it is, and then you put a snapshot in to clean it up – you learn those things over time, so frequency-wise, I’m pretty set; it’s level-wise that I’m doing the work in real-time.”

Meyer likes to be hands-on with Timberlake’s vocal: “you can’t just leave that up,” he insists. “That’s because everyone is everywhere, so I have to make changes around that. Every once in a while, you have that magic show that’s perfect, and you just laugh and go through the motions, but it’s pretty much always an adjustment situation.”

Monitor engineer, Paul Klimson, has worked with Timberlake since the artist’s 20/20 tour in 2013. He says the SD7 was a no-brainer for this show. “The SD7 is the only console to use when you’re talking big channel counts,” he insists. “And it really does come down to that. Also, the surface layout, flexibility of programming with the macros, and having the ability to see many channels at once keeps all the important things under my fingers without having to page around to find things.”

The show file Klimson works off now has been in existence since 2014. It was a pretty full file back then, he says, but on this tour even more inputs and outputs have been added. “There are two stage racks and a Nano rack, and I use all of the inputs, so we’re at 140 channels,” he explains. “I’m really excited to change over to DiGiCo’s new Quantum engine when it becomes available, and explore the new options and features that will aid us monitor engineers.”

Klimson says this tour is a lot of fun. “In-ear mixing for bands is quite utilitarian, as they have to hear everything, so you give them a decent mix – especially this band, because they are all playing together and vibing off of each other. There are 32 stereo monitor mixes between Justin, the dancers, and the band; they have a couple of players that come and go. We are very lucky working with these guys.”


Clair Global

Tagged with:

Subscribe to Live Sound International

Subscribe to Live Sound International magazine. Stay up-to-date, get the latest pro audio news, products and resources each month with Live Sound.