UK - Craig David is a prolific artist and 2024 was a sold-out year of global touring, arena venues, outdoor shows and DJ sets. 2025 sees a UK tour and many more shows across the world.
Mixing front-of-house is Paul Cooper, with Ash Wilkinson on monitors. Both are using DiGiCo Quantum consoles, supplied by UK rental and production company, Major Tom Audio Production. Choosing a Quantum 852 for front-of-house and Quantum 7 for monitors has given the production total flexibility. Whatever shape the show takes, the team can count on the scalability, reliability and customisation that DiGiCo delivers.
Wilkinson has worked with Craig David since 2013. For him, choosing DiGiCo is all about flexibility. Working with an artist who is performing across a wide range of venues, and with a such varied set list, means specifying a DiGiCo guarantees he can cope with any type of performance.
“I just love the layout of the Quantum 7; it’s got everything I need, exactly where I need it,” he explains. "We have some fly-in shows coming up where we have a smaller channel count, so we will be converting our show files to fit Q338 Pulse consoles. I'm really keen to dive into all the new Macro features and Mustard Source Expanders (MSE) in the v20 software."
The MSE is a dynamic option, introduced with the latest v20 software update. The processing works a little like a gate, reducing the level of a signal by a given amount, but is better for non-transient signals, such as vocals. Using MSE can reduce level when a performer stops singing, vastly reducing the chance of feedback and limiting the levels of noise on stage from open mics.
Choosing what equipment to stock is all about usability and reliability and, for Major Tom project manager, Richard Wonnacott, having DiGiCo family products available for rental is important, not just for their engineer appeal, but also because of the support the DiGiCo team offer.
“DiGiCo is a big part of our hire stock. You can rely on the equipment and if something does go wrong, the DiGiCo team are quick to act. Coop (Paul Cooper) is using the Fourier engines and generally, we’ve noticed a big uptake in the Fourier use,” says Wonnacott. “The easy interaction between DiGiCo and Fourier makes it an increasingly popular product. We’re using it on a couple of other productions, too, it’s working out really well.”
At the front-of-house position, engineer Cooper enjoys the flexibility that Fourier offers and the benefit of having everything where you need it. On busy shows like this, it means that his focus remains exactly where it should be, on making the show sound great.
“For me, DiGiCo is the quickest and best way to do things. I often use a mixture of consoles, but DiGiCo is the one that does everything you want it to do, quickly,” he notes. “It’s infinitely customisable and you’re not limited by a specific layout. With other desks, you could spend ages uploading show files and double checking, but with DiGiCo, you can be up and running in about three minutes.”
On the Quantum 7, Wilkinson finds the Macros useful for interfacing between the types of functionality needed between the different working modes of the show day.
“The monitor desk also takes care of the comms for everyone, so being able to globally address them is indispensable,” he recalls. “What the band want during rehearsals is very different to what they want during the show, so I can quickly change things, without having to find the individual channels. Being able to react quickly is key to how I work with the band.”
