Singer Alizzz’s FOH Engineer Alex Carretero and Monitor Engineer Brent Oliveras utilise DiGiCo’s Quantum 225 consoles, supplied by Ara So.
“Choosing DiGiCo for our latest tour with Alizzz was a no-brainer,” recalled Oliveras. “Having had experience with their systems on previous tours, we were well aware that DiGiCo stands unrivalled in terms of both sound quality and functionality, delivering a powerful boost to the artist’s performances.”
Oliveras further highlighted DiGiCo’s routing options, Snapshot capabilities, and sound quality. In their set-up, both engineers employ two Quantum 225 consoles and one SD Rack interconnected via Optocore at 96 kHz. Each console integrates a Waves SuperRack system through the SoundGrid port.
“I create seven distinct stereo IEM mixes, including five musicians, a backliner, a guest mix, and the cue,” continued Oliveras. “To manage the cue effectively, I route it through a matrix that incorporates various talkback mics and the shout system, distributed across different matrix inputs. This ensures I can always receive orders seamlessly, regardless of the active mix or channel.”
Oliveras integrated sidefill outputs into the matrix setup, he also crafted individualised drum mixes for each musician, which means he can treat the entire drum kit as a comprehensive buss for applying compression and EQ adjustments tailored to their preferences. “These customized drum mixes are then routed to the merge input of each musician’s mix,” he explained. “For instance, if the bass player desires more snare in their mix, I can easily direct it to their dedicated drum mix, rather than directly affecting their main mix.”
“I have plenty of Macros, something I truly cherish about DiGiCo, and I genuinely appreciate the powerful possibilities they offer. One of the things I use Macros for is testing all the sends,” Oliveras continued. “I also have a Macro for the virtual soundcheck patch. We really enjoy conducting virtual soundchecks simultaneously between FOH and monitors to assess how the PA, the sidefill, drumfill, and IEMs work together, and make any necessary calibrations. So, I have an on/off Macro to switch the patch between all the inputs coming from the FOH console and the inputs coming from the SD Rack,” he added.
“For Alizzz’s show, I programmed approximately 45 Snapshots, triggered through MTC and sourced from SMPTE played from a Cymatic device,” Oliveras said, further noting that each Snapshot is programmed with a specific recall time and is organized within an all-encompassing Group. “I update them individually or as a Group, either in relative or absolute mode, depending on the requirements of the situation. I also frequently use the Select Range option to implement specific changes. If you effectively manage the Scope section, you can create and execute nearly any imaginable action. Many Snapshots only need minor adjustments in the SuperRack, such as altering the level of a guitar solo. Others bring about significant changes, such as modifying all reverb parameters and level sends. This functionality is tremendously useful and impressive.”
For Carretero, “I can route anything to anything, which I absolutely love. This makes my session start with a treasure map, and it’s no joke,” he explained. “In order to save input channels and keep the the latency coherence for all the drum intruments, I use a distorsion FX inserted in a Master Aux and this aux is routed to the drum Master Group through the Merge Input. As the other drum instruments are routed to another Group for Parallel Compression before the drum Master Group, they all arrive there with the same latency. In order to keep the signal aligned with the rest and avoid comb filtering, I had to keep the same number of channels and busses in the signal path from the source to the output. Both Quantum 225 consoles we use for monitors and FOH are in the same Optocore loop with the SD Rack, and this is really useful for sharing and sending tie lines, especially when I’m doing a virtual soundcheck. The monitor console receives all tracks, and Bernat can make more accurate corrections to IEMs, sidefills, and drumfills with the interaction of the PA. Text Chat is also great, as you can keep some secrets away from the shout mic. In total, I have more than 50 Snapshots running with MTC, and my Waves SuperRack system is completely remote from the console, with the same number of Snapshots.”
Both engineers appreciate the new compressors, saturation, Nodal Processing, and the Chilli multiband compressor: “Although we do most of our shows with the Quantum 225 console, we wanted to maintain compatibility with the SD system because we can’t always bring our consoles. Therefore, we aimed to be able to run the show with any available DiGiCo product. I use Nodal Processing to create a more produced bass sound for the musicians and a more natural, raw bass for the bass player. I also apply the VCA compressor with very subtle settings on the mix outputs. It’s amazing how we can achieve parallel compression by mixing the dry and wet signals inside the compressor,” Oliveras noted.
Some aspects Carretero enjoyed: “For example, my master mix bus processing is entirely done within the console,” he explained. “I’m using the Mustard Tube in overdrive mode with the mix set at five percent, providing an excellent emulation of transformer sound. I also use a Mustard VCA compressor with a high-pass filter at 120Hz on the sidechain to preserve the low-end. Following that, I employ the Mustard EQ, which is excellent for achieving the perfect tonal balance. Additionally, I have a stereo Chilli consisting of just two floating bands: one to maintain clarity in the low-mids and another to keep the high-mids gentle when the dynamics of the show become more aggressive.”
“We use an Optocore loop to interconnect the FOH console, the SD Rack, and the monitor console,” Oliveras explained. “I make use of the SoundGrid port to run the Waves SuperRack. Additionally, I employ the MIDI input port to receive MTC from a sync device that converts SMPTE to MTC for controlling all the Snapshots. The MIDI output port is used for executing Macros to control the SuperRack, such as switching between different views within the SuperRack. Furthermore, I rely on the Ethernet ports for managing the Waves SuperRack and for wireless control of the desk using an iPad.”
Both Oliveras and Carretero express their satisfaction with the performance of the Quantum 225, with Carretero stating that DiGiCo consoles “never disappoint”. Oliveras agreed and offers his own final thoughts: “I’ve been working with DiGiCo consoles since the D1 and D5 back in 2006, and I began seriously touring with the SD system in 2018.”
“I believe DiGiCo products constitute a highly powerful system and have no rivals in terms of sound quality. Whether it’s a Q225 or an SD console, I am always confident that the system will be very reliable,” Oliveras concluded.
