And the new Quantum features are so good I have the power to tackle any challenge the production throws at me!”ĭel Valle notes that the central fader bank has been invaluable for storing the aux sends. “We chose the Quantum 7 as it is the only console that could accommodate the large number of inputs required for this show. “The first time I used DiGiCo on tour was back in 2008 mixing Extremoduro on a D5, and I have pretty much used DiGiCo on every tour since then,” recalls del Valle. Monitoring for the tour is handled by long-term DiGiCo user Carlos del Valle, who relies on Quantum 7 to deliver the functionality, audio performance and the scale required to cope with a large production like the Sin Cantar ni Afinar Tour. Personally, I feel very comfortable working with my SD7, it’s super flexible and sounds like a cannon!” “I worked with the SD7 at the start of the tour and later moved on to the Quantum 7. That’s something you have to consider when choosing a console. “The size of this show means it would be impossible to start from scratch with another console, so it’s very reassuring to know that wherever we go, we will find an SD7 available. “Although we travel the world with our control systems, the situation has arisen that we arrive, but the equipment doesn’t because it travels another way,” he says. Seven months into the tour, and having already completed over 30 concerts, Lara is delighted with his SD7 and its performance and the comfort of knowing they are available almost anywhere. That’s something that’s really useful for me in this show.” This structure also allows a sidechain process to affect an entire section. I don’t have 200 faders on my surface and can go to each one without traveling through layers, and while fader banks are a nimble tool, having the ability to group and send those groups to other groups allows me access to all of them in accessible and visible sections. It’s about simplifying and being able to process the different sections together. “The key to having an agile workflow is in the grouping of sections. “There are 103 inputs coming from the stage, plus my FX returns and sends, and parallel processing channels, so grouping is the key to my console structure,” he explains. The workflow can be as complex as you want it to be thanks to the latest consoles’ almost limitless options, but it’s really easy to understand DiGiCo’s work philosophy.”įor Sin Cantar ni Afinar, Lara’s work structure is largely based on Groups. “At a glance, you know what’s on each input or output without having to scroll through different windows. “It’s an environment that’s very similar to that of the analogue world,” he says. Lara notes that although he always found DiGiCo’s interface easy to work with. With Fluge Audiovisuales’ extensive product inventory, which includes SD7, SD5, SD10, SD8, SD12, SD11 and the latest Quantum7, Quantum338 and Quantum225 models, meant supplying the tour was not an issue. Being so familiar with the DiGiCo environment, I knew I’d be able to replicate the work I’d done on the previous console to the SD7 very quickly,” he says. I chose the SD7 because I know the consoles, its processing power and stability. “I started the current tour with a different console brand but it was having stability problems, so three days in, I opted to switch. Tangana for the last four years and explains how he started using the SD7. FOH engineer Felipe Lara has been mixing for C.
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