FOH position with Digico SD7 console
easy choice. “It’s my favourite console to
mix on, and it’s the only one available that
would handle our channel count, with all
these ins and outs,” he says.
One new component from Digico on
the tour is the complement of the com-
pany’s 32-bit John Stadius mic pres, and
they’ve quickly earned Meyer’s favour.
“With an A rig and a B rig, we have eight
stage racks of the 32-bit mic pres, and
they’ve been really well received; they’ve
presented a new life and vibrancy that I
really appreciate,” he says.
That vibrancy goes a long way with
reinforcing this particular group of mu-
sicians. With a nightly setlist comprised of
songs spanning Timberlake’s five studio
albums and 15-plus-year solo career, the
band is tasked with faithfully reproducing
the energy and impact of the original
material while creating a live and dynamic
sonic synergy.
Amp Rack
“The whole mandate for this tour was
to make the experience like a movie, so
you have big moments, you have quiet
moments – it’s just increased dynamics
and impact,” shares Meyer, and the band
plays a big part in delivering that result.
As for his own role in achieving a cine-
matic live music experience, Meyer says he
has his client’s blessing and trust to mix as
he sees fit. “He’s very concerned with the
quality of sound and what his audience
gets, but how it gets there? He trusts me
to take care of that. He knows I’ve got his
back and will make it right. That’s really the
bottom line.”
Working hand-in-hand with Meyer on
the road is Clair Brothers’ Scott “Scooter”
Hernbeck. Asked about any other collab-
orators at Clair who were instrumental to
the development of the tour, he mentions
Console Department
Manager Jonathan
Shober, and then adds:
“Technically, the entire
staff from ownership
on down. There is no
way to put into words
how much I appreciate
the support and love
they have shown me.
We’re family.”
Meyer also heaps
praise onto Optocore’s
Coons for his input on
the networking components of the system
throughout the design and implementation
process. “Brandon was really helpful from
the beginning and I’m happy with what we
came up with,” the engineer offers.
Finally, he shares some credit with
his counterpart in the lighting realm, de-
signer and programmer Nick Whitehouse
from creative design studio Fireplay. “Nick
really worked with our audio team to
make this possible,” he offers. “The [video]
screens he chose are the least intrusive,
in terms of shooting through them. We
talked in the early stages and gave him
an idea of what we wanted to accomplish
from a sound perspective, and he looked
out for that while doing what he needed
to do and it all worked out quite nicely.”
Now amidst the European leg of its
lengthy run – the second of four total
– the Man of the Woods Tour has been
remarkably successful from all sides. The
dates are selling out, the reviews are
mostly outstanding, and it seems that
those on and around the stage with a role
in delivering the overall experience are
enjoying themselves.
The audio system supporting the tour
may be complex, but its purpose is quite
the opposite: a memorable night of live
music with one of the world’s most ac-
complished entertainers.
Andrew King is the Editor-in-Chief of
Professional Sound.
PROFESSIONAL SOUND 33