The new consoles immediately went out with Sergio Dalma
Spain - With a career that spans three decades, and having topped the country’s national album chart nine times, Sergio Dalma is one of Spain’s best-selling recording artists. Last year saw him tour his latest album, Alegria (Joy), throughout Spain and South America. Spanish rental company Use Sonido supplied DiGiCo Quantum consoles at both the front of house and monitor positions, purchased from DiGiCo’s Spanish distributor, RMS Pro Audio.
“We started working with Sergio Dalma over 15 years ago,” says Use, Use Sonido’s owner. “We have worked on many tours with him, always using DiGiCo consoles at front of house, and more recently we have them at the monitor world, too.”
Originally, the company had SD7 and SD10 consoles in its inventory, which it relied on for many years, but recently decided to upgrade to an SD Quantum 7, adding the Quantum 338 as soon as it became available to replace its SD10s, ensuring it has the most up-to-date DiGiCo products in its rental stock.
The consoles immediately went out with Sergio Dalma, the SD Quantum 7 taking up the front of house position, manned by FOH engineer Oscar Vinader, and the Quantum 338 with Alberto Cid on monitors.
“Whenever we invest in a new console, we make sure the engineers who are going to use them are fully trained on them, and we’ve had great support from DiGiCo and RMS ProAudio for this,” Use continues. “Once everything is explained - the graphic environment, the layout of the menus, the ergonomics of the encoders, etc., - it makes them really easy and intuitive to work, which makes everyone understand that a lot of thought there has gone into the choice of our systems.”
This is the second tour with Dalma using the SD7Quantum and Q338 combination, along with an SD-Rack with SD 32-Bit mic preamps. Both Oscar and Alberto are delighted with the consoles. They have the utmost confidence in them and are delighted with both the results and the reliability of the system.
“I usually do the setup with the offline software at home,” notes Vinader. “I start from sessions where I already have my route of aux sends, groups and FX. If there is something that the SD7 has, it’s the convenience of being able to work with snapshots with the timecode. This allows me to memorise everything track by track, FXs, pans, delays times, and synchronise everything with the stage and lighting.”

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