Live Sound

Supported By

FOH Engineer David Loy Returns To The Road With RME

Currently working a packed touring schedule in support of country artist Kane Brown with recently added MADIface XT interface and M-32 DA analog converter.
ProSoundWeb
Kane Brown FOH engineer David Loy back in the saddle and on the road with an RME interface and converter.

David Loy, front of house engineer for country artist Kane Brown, has returned to the road this summer with a packed schedule of country festivals, concerts and state fairs with two new additions to his touring kit, an RME MADIface XT interface and M-32 DA analog converter.

Loy wanted an interface and converter that could withstand the rigors of tour life as well as unpredictable weather conditions. “When you headline country shows and country festivals, you deal with a lot of unknowns, such as gear rattling around in trucks and unexpected weather conditions,” he says. “Basically, a lot of things you wouldn’t want to put electronics through. I needed something that could ride on a truck and not break, but also deal with the rain and dust. I needed something durable. And RME has been that for me. The RME MADIface XT and M-32 have handled it all. Every time I turned them on, they were good to go.”

A self-proclaimed “MIDI nerd,” in addition to requiring a high channel count at a high sample rate — he’s currently recording 76 channels at 96 kHz every show — Loy also needed MIDI capabilities. “I needed to integrate and route MIDI I/O in and out of my console,” he explains. “I love MIDI, and all it enables me to do, so now I’m recording LTC timecode through the MADIface XT, converting it to MTC, and then outputting that to my console via the MIDI stream. This way, I can fire my snapshots using timecode values for more accurate programming. Other engineers might have to get another laptop or interface for this, but all I need is one app connected to my computer and it runs in the background. It allows me to program the show even more creatively.”

Loy tracks into his DAW via the MADIface XT allowing him to have the ability to do a virtual playback of a captured soundcheck or show at FOH. “By doing this, Kane and the band can listen at FOH with me, and I can show them certain clips of the recorded rehearsal or soundcheck,” he notes. “This allows me to accurately portray how it sounds at FOH for them. Every time I hit record on the MADIface XT, it never misses a beat. The conversion is super clean, and honestly, it’s such a relief knowing that it will work every time.”

His entire playback system is RME, adding that he uses an ADI-4 DD ADAT AES converter for vocal processing.

“In our tracks playback world, there are four different RME devices that are clocking and talking together,” he explains. “Using the MADIface XT for redundant playback has been amazing, because our tracks used to be analog, so we were converting twice by the time audio got to the consoles. By using a MADIface XT, I’ve noticed a shift in the ends and beginnings of the audio spectrum. Sometimes poor conversions can cause the higher ends (15 kHz to 20 kHz) and lower ends (20 Hz to 40 Hz) of the audio spectrum to sound weak, but there’s none of that with the MADIface XT. I’m literally hearing the full spectrum. When there’s a sub-hit, I feel it go all the way down. It really allows us to get even more creative sonically.”

RME

Live Sound Top Stories

Church Audio Tech Training Available Through Church Sound University. Find Out More!