In 2016, “My Girl,” released by Nashville’s Curb Records, became Dylan Scott’s first No. 1 single on the Billboard Country Airplay chart. This summer, he commemorated the song’s seventh anniversary. He is the epitome of a country music success story: an upcoming artist who puts in the time and effort necessary to establish a career in music in an arena that demands that type of tenacious dedication. Logistics are therefore just as crucial as everything else when Scott travels. How much gear can we fit in a standard trailer is the storyline at a time when fans are hoping for high production values.
the context of Scott’s case, that trailer contains five set carts with video wall and lighting, an 8×6-foot drum riser with drums that remain built and wired, ready to be plugged in, a general rack that resides wireless senders and receivers, tracks listening time with videoconferencing, bass DI, and other gear, as well as all of the standard guitars, pedal boards, and keyboards for the band in their flight cases. It could be more difficult than coming up with the next great song to figure out how to pack in sufficient recording equipment to make every show on the road appear and sound as huge as possible. However, Scott’s team has sorted it out; a pair of powerful but small DiGiCo SD9 terminals for front-of-house and monitors, sharing a martyr SD-Rack on an Optocore fiber loop, offers them large amounts of power.
Jason Bjerg, Scott’s production leader and monitor engineer, notes that while everyone would prefer to have the equipment attached to an air-ride semi-truck rather than rattling about in a trailer, this is the current state of things. “We basically built this tour on top of the trailer—what we could fit into it to allow us to put on as large of a production as we could without risking any worth, and knowing the trailer was to be packed precisely the same way every night. The DiGiCo SD9 desks were the ideal choice because of their small size and ability to provide us with excellent sound.
Bjerg fulfilled the SD9 when performing in Africa for some arduous religious missions, where he said the setting was the most difficult one could imagine for a concert. You’d ask how those consoles ever functioned, he says, when one have seen the grime and dust that gathered on them. However, they always sounded like they were fresh out of the box when they performed. They were constantly on time.
He When Dana switched to the smaller SD9 from DiGiCo’s larger SD12, Scott’s front-of-house mixer, he quickly found that smaller didn’t imply less power or performance. “Other aside from the smaller area and one more screen, they are no changes I need to make to adjust,” he claims, adding that he added his own offshore second screen with ease. “I just loaded my show file in, and it was plug-and-play ready.”
In reality, he continues, the lesser form factor allowed him to set up in more locations within a venue, which is essential freedom to have when you’re a second or third person on the list at an event. It also made load in and out much faster and easier. He responds, “Just pull it up on top of the one rack I’m using. We don’t need to rock and tip the desk.” And the workflow is the same as what I’m used to from the SD12 or, really, from any DiGiCo desk. On the SD9, Dana utilizes Waves plugins but claims that its internal processing is on par with anything else. It’s just one more way we can keep the equipment small and utilize the production space in the trailer, he said.
An driven; aspirational young artist touring with a band and crew these days needs the small, compact SD9s that Clair Global provided for Scott. Touring performers of all levels cannot afford to skimp on quality since there are high production and sound standards. “With the SD9s, we get incredible sound having the ability to carry content than punches before our own weight, although with a level of simplicity that’s comfortably old-school,” claims Bjerg. “Maybe you need an SD9 if you can’t make it sounded great with just your console.”