Top Country Artist Luke Bryan Opens For Tim McGraw With Dual DiGiCo SD8s

The setup at FOH is 48 inputs coming from the stage with a variety of production inputs locally (playback, talkback, reference, etc), in addition to Left, Right, Sub and Front Fill both Analog and AES outputs.

Healey’s using a few Matrix outputs set up for OBTW (“Oh-by-the-way”) requests and one for L&R record for reference purposes. In monitor world, Janiszewski’s rig is 56 inputs, with 6 stereo output mixes for the band, a thumper for the drummer, and three individual stereo crew/tech mixes.

“I am a ‘keep-it-as-simple-as-possible’ kind of guy,” Healey confessed, “and although I am aware of lots of things the console can do, for my application simpler is better.”

“We are in the direct support role on two very large tours this year, so keeping it super simple gives me the option of being able to throw-and-go a lot easier when the parameters of the day don’t always allow a soundcheck.”

“Also, probably one of the biggest things that the SD8 has helped us with on this tour is the size of the footprint. The tour with Tim McGraw has been really great but space is at a premium. I am able to sneak my desk in and out without much hassle…. Kind of like a ninja! You don’t even know I was there!”

“As far as onboard features, since I’m using the 24-channel frame, the mobility of inputs and outputs is crucial for me as I really don’t have any desire to be flipping banks all night.”

“In our tour prep I was able to map out one layer that allows me—via channel strips and VCA’s—access to everything I really need during the show. If I need to go into another layer to access something for a moment I do, but I can pretty much tuck away things I don’t need to see much of after soundcheck.”

For Janiszewski, he loves the flexible layout of the desk at monitor world. “I love having 12 channels in each bank, and the macro feature is really powerful. Also, each output has dynamic processing and parametric EQ without having to use up a plug-in or give up some other functionality.”

The console has solved a few monitor challenges for him, including satisfying a hard to please sideman.

“I have one musician who requests changes more frequently than the rest of the band. In the past it meant flipping to his mix to make the changes. On the SD8, I have one of the three sets of assignable rotary encoders assigned to his mix—which means it’s always accessible without flipping banks or hitting a button—and I still have the other two sets of encoders for other purposes.”

“Also, having two talkbacks is really helpful. I have one assigned to the crew mixes and one for the musicians, which benefits both problem-solving and gossip. And because of the flexibility in configuring the layout, I can put different output channel types on one bank; I use aux sends for the band’s mixes, a master group bus for Luke (so his effect sends are post fader), and I use a matrix for a spare/back up output all of which are side by side on the same bank.”

“I use a set of macros to instantly route any mix to the spare/back-up matrix output so if there is a problem with someone’s pack I can swap it out easily, quickly and without reconfiguring anything.”
Both engineers say they’ve been really impressed with the sound of the desk throughout the tour. “It is definitely one of the warmest digital formats I have used,” said Janiszewski, “and from what I hear from Ed, our artist really loves it as well!”

“Without a doubt,” added Healey. “The console is warm and full. Overall, the band is happy which means I’m happy.”

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