New York (June 8, 2007)–Attempting to shake off the ghosts of *N Sync once and for all, Justin Timberlake’s current world tour is supporting his album FutureSex/LoveSounds, and if that isn’t forward-thinking enough, there’s a trio of Digidesign Venue live sound consoles along for the ride, with one at the house mix position and two in monitor world.
Kevin Glendinning lords over two Digidesign Venue D-Show consoles at the monitor position on the current Justin Timberlake world tour.FOH and monitor engineers Andy Meyer and Kevin Glendinning, under the guidance of M.L. Procise of Clair Showco and Digidesign’s own Jeff Priepot and Dave Skaff, chose the desks in January. The front of house Venue D-Show system, in tandem with a Sidecar, is fully loaded with five DSP cards as well as the HDx Pro Tools|HD interface and ECx Ethernet remote control options. It is accompanied by two stage racks, each handling 48 inputs and equipped with three SRO analog output cards and a DSO digital stage output card.
“Being able to have tools to get a desired result is a wonderful thing,” says Meyer. “The console is very stable and from day one I have been comfortable with this desk. The VENUE system lends itself to input from the artist on a completely different level [than other systems]; if Justin or music director Kevin Antunes describe a sound–or just have advice on the placement of a specific instrument in the mix–I can immediately give them a result, modify the snapshot for the song, and move on. It really makes it enjoyable for all involved. The band will often pop in and check out what’s going on as well. You can demonstrate the source you’re getting from them, and then discuss with them what they are after, or what you feel you need to get. It’s been a blessing for sure.”
For Monitors, the Timberlake show demands over 40 discrete outputs and over 100 inputs. In order for monitor engineer Kevin Glendinning to accommodate these demands, he employs two complete Venue systems, each with two remote Stage Rack I/O boxes, and each containing a massive collection of plug-ins for inserts and effects.
Both monitor consoles receive identical mic and line level input feeds from the splitter system. Console “A”, which resides on the outer perimeter of the in-the-round stage, handles personal monitors for Timberlake, which are fed directly from the L/R bus. The personal monitors for the dancers, music director, mixes for their backline, shout communication systems, and all effects are sent pre-fader down the auxes. Console “B” handles 12 stereo personal mixes for the remainder of the band, with a ‘thumper’-send from the center bus as well.
In-ear EQ is courtesy of VENUE plug-ins. Glendinning employs Focusrite parametric EQs on all band in-ear systems and a Sony Oxford parametric EQ for Justin’s monitors. He also relies on other plug-ins including Bomb Factory®, Joe Meeks and Fairchild®—all of which he says are amazing on acoustics and rival or surpass many top shelf analog units.
Meyer is currently tracking 100 channels of Pro Tools for recording the tour on Pro Tools|HD for Virtual Soundchecks and archival purposes.