вЂњIn fact, Kari and Cody both have Sennheiser talk-backs on their handhelds, so they can literally flip a switch and talk to the band on stage through the monitors.

It can change on a dime at any moment we can go to a different song,вЂќ he says. вЂњThe matrix on the console is amazing in what it lets me do, and thatвЂ™s important because the flow of our stage show is not locked to a grid.

But the VIPs are able to hear all the talk-backs on stage, the click, the guide tracks, and basically whatever the band hears onstage. вЂњItвЂ™s not just that I can route all of these audio sources, but also that I can manage them, too,вЂќ he says, noting that none of the audio for the promo video goes into the stage or VIP in-ears even as itвЂ™s playing through the PA systems in the house. IвЂ™m the only audio guy out there.вЂќДЄnd there are even more hats: Miles is also taking in all of the inputs from the console to Pro Tools and Waves Tracks Live to record select shows, and audio for some promotional and sponsor videos before and during the show, also routed through the main PA. And thatвЂ™s important, because itвЂ™s just me. Everything has its place and I know where everything is, which is critical for speed when youвЂ™re wearing this many hats on a show.

вЂњI have all my control groups in the center, along with the 24Г—24 matrix that includes the 10 VIPsвЂ™ mix all of my front-of-house input channels on the left, and all of my ears on the right including 10 channels of RF onstage. вЂњEverything also has its own section on the console surface, which is part of why I love this desk so much-the flexibility is incredible,вЂќ he explains. Miles says heвЂ™s using nearly all of the 56 channels on the DiGiCo SD-Rack, and everything is directly split, double-patched in the console, to avoid latency in the monitors. вЂњIf a churchвЂ™s keyboard player is in the VIP group, our keyboard player will come out and to talk to them about their setup, or if theyвЂ™re a tracks person, weвЂ™ll go through our tracks rig with them,вЂќ he says. The Quantum338В gets plenty of attention because those VIP attendees are on their own in-ears before and during the show on a completely separate mix within the Q338. These are mainly volunteers and staffers from local churches that Miles and other The Blessing USA crewmembers will walk and talk through the tourвЂ™s workflows and equipment. HeвЂ™s mixing the showвЂ™s front-of-house sound as well as the in-ear monitors for the entire band, as well as for a 10-person VIP group that can access the stage, band, artists and crew in each city before the show. and IPS Live, is acting as the literal hub of every aspect of the tourвЂ™s sound.

WhatвЂ™s also unique about this tour is how the DiGiCo Quantum338В console, operated by Production Manager Brenton Miles and supplied by tour outfitters Spectrum Sound, Inc. Sponsored by illumiNations and, the tour is implementing вЂњsocially distanced and/or reserved COVID-safe seating and capacitiesвЂќ in each venue, and tour members will be tested and everyone entering will be temperature checked, in addition to other standards and local requirements. Kicking off in Pittsburgh on April 15 and culminating in Brandon, Mississippi on June 18, the tour is taking the celebrated singer-songwriter duo on a 24-city run of shows at large houses of worship and theatres across the Midwest and South, including Dallas, Orlando, Minneapolis, Atlanta, Houston and elsewhere. NASHVILLE, Tennessee вЂ“ May 2021 вЂ“ One of the most highly anticipated tours in the Contemporary Christian music world this year is The Blessing USA Tour, pairing six-time GMA Dove Award winner Kari Jobe and husband/partner Cody Carnes.

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