LONDON – Capital Sound, with an assist from Delta Sound, provided four DiGiCo SD7 mixing consoles for Take That's 36 stadium-date Progress Live tour, which traveled from the U.K. and Ireland across Europe. A DiGiCo SD7 is used to mix the Front of House position, with a second for mixing the support act – the Pet Shop Boys – and anything else that may arise.
Two more SD7s were used for monitors – one for the five members of Take That, the other for the backing musicians – while a fifth DiGiCo console, an SD9, is mixing monitors for the Pet Shop Boys. All consoles share three DiGiRacks via a fiber optic multicore.
This tour is the first time that Take That's FOH engineer Gary Bradshaw has used the SD7, and it made a good first impression. "Being laid out in banks of 12 fits really well with this production," he said. "There are 80 inputs, so I've got drums on one bank, band on another, vocals on another and rest of the VCAs in the middle."
The show is structured as a series of "mini-sets" performed by Take That in both their four- and five-piece incarnations, which are interspersed with Robbie Williams performing several of his biggest solo songs.
To accommodate all that, while allowing for several instrumental interludes to during costume and set changes, Bradshaw has all the songs programmed as snapshots, some songs even having a couple of different snapshots within them.
"All I have to do during the show is press ‘next'," Bradshaw said. "I'm using multiband compression on some of the vocals and outputs, plus multiband EQ on the latter, just to smooth things out. It's something I wouldn't have been able to do on any of the previous DiGiCo desks and it sounds great, I think it's the best sounding desk on the market."
Bradshaw is also recording every show via MADI. "When we set up in each new venue, I can play things back at show volume and make any changes I need without the boys or the band having to be there. It also saves a lot of time at soundchecks, of course."
At the monitor position, Steve Lutley does the five "boys" monitor mixes on one SD7, while Simon Hodge does those for the band on the second.
"Between us, we're doing 22 in-ear mixes, plus an additional 12 hard drive mixes," said Hodge. "With this size of production, you often seem to run out of outputs, but the SD7 has almost unlimited busses, which makes it really the only desk I know of that could do this job."
With the SD7's built-in effects and macros helping to provide an effective monitor mix in the challenging environment of a stadium-sized show, Hodge and Lutley are very happy with the desks' performance.
"It's really good, a very pleasant experience, both operationally and sound wise," said Hodge. "The SD7 is a great console."
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