I opted for a Waves SuperRack SoundGrid plugin system due to its low latency, reliability, and the fact that many of the plugins have been part of my workflow for years.

The Waves Extreme Server-C handled the processing and a Waves Axis Scope hosted the SuperRack software and plugins.

As both the Waves Extreme Server-C and Waves Axis Scope rack mount together on a 2U shelf, the system was space and weight efficient.

I decided not to use the DiGiCo integration with Waves SuperRack, which is often used for file management and “Touch and Turn” control, in favour of simplicity. However, having certain plugin controls directly on the console was still useful.

One example was the Waves PSE plugin I use on the vocal. I like to have a console macro to engage and disengage it quickly. To achieve this, I built a macro on the DiGiCo to output a MIDI program change, connected the console’s MIDI output to the MIDI input of the DirectOut Prodigy MP which allowed me to embed the MIDI data within the SoundGrid stream directly to Waves SuperRack. I could then learn the incoming MIDI program change and assign it to the required plugin parameter. Normally this would require a separate MIDI interface for the computer hosting Waves SuperRack, but by handling it within the DirectOut Prodigy MP I was able to achieve this using just a single MIDI cable, while also reducing additional hardware and points of failure.

Recording

Virtual soundcheck has become one of my most important tools for delivering a consistent show. I rarely mix a show without recording and archiving it. Utilising the USB.IO card within the DirectOut Prodigy, Mac mini and ProTools I was able to record up to 128 channels reliably with an incredibly small footprint.

System Control and Tuning

Using the DirectOut Prodigy MP onboard DSP I was able to use FIR and IIR filters on individual PA zones and as a mix overlay.

I also used the matrices for level control and delay time.

I managed my Smaart transfer function, microphone and console reference from within the DirectOut Prodigy MP too.

The PA systems venue to venue varied massively, in brand, deployment and acoustical space. Having the tools to bring consistency without touching my console show file and without relying on local PA processors, meant I could achieve consistent results every day.

Timecode Management

The show had complex automation requirements. Rather than take my attention away from engaging with the show in the room and manually recalling various elements of automation via snapshots, I opted to use playback derived timecode to trigger these snapshots automatically. Not all DiGiCo consoles have a LTC input, they only accept MTC. This is yet another problem the DirectOut Prodigy MP could solve. By taking the LTC into the DirectOut Prodigy via the incoming MADI stream from the DiGico, I could convert to MTC and output via MIDI DIN back into the DiGiCo. Normally this would require an additional device such as a Rosendahl MIF4, but that was not required, saving more rack space and weight.

Hardware Outboard

As much as I embrace the benefits and power of digital audio, I also have a financially crippling love affair of analog audio equipment. I love the tactile control, the favourable unpredictability, and the sonic characteristics that still can’t quite be recreated digitally.

As I managed to keep the package small by using the DirectOut Prodigy, I had some space left in the racks, so I squeezed in the following:

Kush Clariphonic MS Parallel Mid Side Equaliser

I use this EQ on my mix bus very intentionally, I always leave the chicken head knobs wound down until the first song of the show. They are the first controls I grab once the show starts and the crowd is screaming and singing along. I use it in Mid/Side mode. In the centre image I use Lift and Boot to help bring the vocal and snare forward, while on the sides I use Shimmer as a tactile response to how temperature and humidity affect the PA each day.

Sonic Farm Creamliner III

With digital technology now achieving such clean audio, it can sometimes feel too clean. It is now almost impossible to not leverage the benefits that digital audio brings, but music comes alive with imperfection, and I like to add it in when I mix. The Sonic Farm Creamliner III helps me do that in a really simple way by adding harmonic saturation, non-linearity and colouration, smooths harsh top end, thickens low mids and softens transients.

Bringing It Together

I used Globcon on the Apple Mac mini to control the DirectOut Prodigy.

Using the routing window I could build the MADI stream to transport audio to and from the DiGiCo, Waves SuperRack, ProTools, PA system outputs, hardware inserts etc.

Using the clocking page I could manage the clocking between the various digital systems (DiGiCo, DirectOut Prodigy, Waves, USB.IO interfacing the Mac mini)

Using the DSP page I could manage the system EQ, delay and matrixing.

Using a floating window I could display the timecode clock as the DirectOut Prodigy MP was handling the LTC to MTC conversion to the DiGico for automation