httpss://www.youtube.com/watch?v=r_9Kf0D5BTs
“For the past two years, I’ve been mixing TØP on a Midas console, first the Pro2 then the ProX, both of which are amazing-sounding. But for this tour I wanted to try something different, and my systems engineer pushed me toward the DiGiCo world. I was nervous because I didn’t know the console well at all. So far it’s been an amazing experience. The open architecture is mind-blowing, and having the capability to put whatever I want wver on my console is great.”
“For plug-ins I’m running the whole Waves universe-mainly just a few compressors like the SSL buss comp and API 2500 for flavor. I’m also using C6s, but with DiGiCo’s built-in dynamic EQ I find myself using less C6s than I used to. All effects are plug-ins, as well-H reverb and H delay. The only outboard gear we are using is a Chandler pre on our bass input because we don’t use an amp, as well as a Rupert Neve pre for ukulele. All processing at FOH is digital in the console. I’m a true believer in keeping things digital and avoiding converting back and forth.”
“I’m mixing monitors on the DiGiCo SD10,” says monitor engineer Lawrence “Filet” Mignogna, seated, with monitor tech Dustin Lewis and stage tech Alex Martinez.
“Tyler’s ukulele runs thru a Neve 517 preamp and his bass runs thru a Chandler TG2-500. Both before hitting monitors and FOH. We’re using an in-ears Shure PSM 1000 wireless monitor system.”
Drum tech John “Father” Meyers at Josh Dun’s drum kit, miked throughout by models from Shure: Beta 52A and B91A on kick; B57As on snare; B98amp for toms; KSM 137 on hi-hat; and KSM32 for overheads.
“Our P.A. system consists of the Meyer Sound Lyon for our main hang. 20 per side; Lyons for side hang, 16 per side; Meyer 1100 LFC for flown subs, three per side, in cardioid; Meyer 1100 LFC for ground subs and front fills, six stacks of two; then six Meyer Mina on top of the subs, and two Meyer UPJ-1Ps. T are also four Meyer Leopards for onstage fills.”