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DiGiCo Quantum consoles chosen for Thee Sacred Souls world tour
After some one-off shows this spring, including two nights at L.A.’s Greek Theatre, Thee Sacred Souls went to Asia/Oceania in May, and to Europe for festivals in June. The trio are heading to the UK in July, and then back to North America for “The Constellation Tour” in August and September.
Every show uses DiGiCo Quantum consoles. The Quantum326 is the workhorse for this diverse set of gigs and venues, with the Quantum338 and other Quantum desks ready to fill in for fly dates along the way, as well as an SD-Rack stage box. The DiGiCo gear is being provided by the Escondido, California office of Sound Image, a Clair Global brand.
“On our riders, DiGiCo is always the first; for our run in May, ninety percent of it was DiGiCo”, says Josh Benton, Thee Sacred Souls’ front-of-house engineer for the last five years. “When we do our touring in the States, if we’re in a bus and have a truck, we’re always traveling with a DiGiCo. It’s been my favorite desk for that entire time.” Adds monitor mixer Zac Gerig: “Probably ten years for me.”
The band’s association with DiGiCo can be traced to a 2025 appearance on “Austin City Limits”. “We were on a different console for that tour; ‘Austin City Limits’ was a fly-in and they had DiGiCo Quantum338 desks there”, Benton recalls. “As we’re going through sound check and line check, our lead singer, Josh Lane, gets on his mic and says: ‘This is the best my mix has ever sounded. What are we doing different?’ And the monitor engineer with us at the time said: ‘Oh, we’re on this DiGiCo desk’, and Josh looks at me and says: ‘Can we use these from now on?’ We switched and have never looked back.”
While he’s used both the Quantum326 and Quantum338 on Thee Sacred Souls shows, depending upon availability and type of date, Benton says the Quantum326’s specifications make it his favorite road companion: “Either desk is good with me, but when we get on tour, I prefer the Q326 just because it’s more compact. I’m also a huge fan of the ability to swap out DMI cards - if we want to use different protocols on the back of the desk, it’s just swap it out and off you go. That’s been a huge asset as of late as we started using the Dante protocol for some of that.”
“Our input list isn’t terribly big, no more than forty; they’re not playing with tracks”, says Benton. “If you don’t see it on stage, it’s not happening.” However, the show can be pretty complex, he adds: “As a band, it’s the three guys, but as a live act, we are at minimum an 11-piece band, and sometimes a 15-piece band if we have a string quartet with us, as we did for our two shows at the Greek Theatre in L.A. With a single SD-Rack, we’re able to cover our needs and any of the support artists that tour with us, which is something we’re planning on doing for the summer run, all within one infrastructure. It makes for a very streamlined workflow.”
In monitor world, Zac Gerig also has a busy workflow, working with a combination of both IEMs and traditional wedges. “When we have strings, it’s twelve channels of stereo in-ears, and then six wedge mixes”, he says. As for his Quantum326, he states: “What I like is that I don’t need any outboard gear; all my processing’s done within the console itself. So I’m using all the built-in Spice Rack and Mustard EQs.”
“The biggest thing for me at monitors is speed, but also the precision of sound”, he furthers. “I try to get all of my moves down to a couple of button presses, because when we start a line check, or if we’re doing a festival and the band didn’t get a soundcheck, every one of the fifteen people has access to a talkback that goes directly to me. And if it takes me more than ten seconds to make these adjustments, I get buried. The Quantum provides the workflow that I need to keep up with fifteen people on stage.”
(Photos: Ben Zucker/@benzckr)
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