WORLD – Jonas Brothers FOH engineer Adam Robinson and systems engineer Cameron Manes credited DirectOut’s PRODIGY.MP for enhancing the audio system and redundancy requirements for the band’s performances around the world.
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“In the past we were using different system processors, but it felt like it was coloring our sound, so we wanted to look for a new solution that gave us the flexibility we were looking for without affecting the signal,” Manes recalls. “We needed a way to future-proof our system and respond to the growing demands of the production throughout the tour, but also retain the clarity we were looking for.”
Self-confessed geeks, both Robinson and Manes were excited by the opportunity to expand control of their audio system and were interested in the level of autonomy that DirectOut and globcon could offer. Hand-in-hand with long-term vendor partner, Clair Global, their investigations have been a complete success. The rental company was happy to help them try different cards and the swaps were easy thanks to the modular design of the PRODIGY series. Manes is using globcon and a Stream Deck interface, to control multiple PRODIGY devices and his playback system, as well as using the PRODIGY.MP to control their Smaart acoustic test and measurement software.
“PRODIGY has become my Smaart interface. I no longer have a separate Smaart computer and that means that I can route all my wireless mics wherever I want,” Manes says. “We’re running quite a few wireless mics for system measurement and tuning. With PRODIGY I can route that to our Front of House console, which makes it visible to Adam at the console and on Smaart.”
When doing one-off performances or fly-ins, the team sometimes find the supplied sound system is not exactly what they were hoping for; there could be a little less energy in the front fills or stage thrust loudspeakers than they need. With PRODIGY powering the system it is simple for Manes to send an extra feed via MADI to the Front of House (FOH) console which then gets passed on to the stage rack, where it can be split into additional powered speakers that can be placed exactly where required.
“We are using two additional PRODIGY.MP, one on either side of the stage. They send AES signals directly from the FOH PRODIGY. MP into our d&b amplifiers,” Manes expands. “Should there be any issues, I also have the signal in analog. Our primary transport is AVB. A lot of manufacturers are integrating AVB into their products now, so we have transitioned to that format for our networking.”
By using PRODIGY series as a central interface, the team ensures seamless integration across different brands of software, hardware, and loudspeaker systems, delivering both reliability and flexibility. PRODIGY devices seamlessly convert formats and sample rates, while the user interface is entirely customizable. Once programed, it can show as much or as little information as required by the user. With globcon software, Robinson and Manes can view and edit any part of their system simultaneously, without issues. Manes’ interface layout displays only what he needs for the show ensuring a streamlined look, while Robinson’s screen shows just system EQ, as a reference. This system has improved their workflow, as Robinson expands.
“Cameron has given me an ‘All’ page, so I can just make a quick EQ change to the whole system if needed,” he says. “It’s great that we can both interact with the system, making changes at the same time, even to the same EQ. If I add a filter and Cameron adds a filter, we’ll both see them, it’s really flexible.”
“I’m the type of person that only wants to see the things that are relevant to me at any given time,” Manes continues. “With globcon, you can create floating objects and configure a page where everything that’s relevant to you can be right at your fingertips. I have also integrated a Stream Deck for tactile control of my scripts.”
Manes has written scripts that send OSC commands to automate functions throughout the show, including switching from work-mode into being ready for the audience to enter. With a single push of a button on his Stream Deck, Manes can switch to the correct music playlist, start the audio, un-mute the correct loudspeakers in the system and bring music to the correct level with a gentle fade-up. It is functionality like this that has really made using the PRODIGY interface accessible and useful in his workflow.
“My scripts are executed seamlessly,” Manes concludes. “When I first started playing with automation, I was a little apprehensive, but PRODIGY has quickly become the most reliable part of the entire audio system. Whatever I ask it to do, it does it, and exactly how I want it to.”
