Why Leading Live Sound Engineers Choose DiGiCo Quantum

Easier to Meet Technical Rider Requirements

In concert rental, rider compliance is not a formality — it is a matter of trust. When a touring team sees a familiar console in the specification, they have fewer questions about the venue’s technical setup and more confidence that the show can be prepared without lengthy approvals or compromises.

DiGiCo Quantum is used in projects by world-class artists including OneRepublic, Linkin Park, Jennifer Lopez, Laufey, Gorillaz, and Andrea Bocelli. For the engineers working with artists of this level, equipment availability across different countries, show file compatibility, a clear operating logic, and the ability to adapt quickly to a specific venue are all essential. This is why DiGiCo often appears in technical riders and is regarded as a working standard for international projects.

Faster Festival Workflow

A festival is a format where rider compliance is only part of the equation. Speed between sets is just as important. One artist leaves the stage, the next is already preparing to go on, and each act has its own lineup, input list, microphones, monitor requirements, and technical team.

DiGiCo Quantum is well suited to these conditions because it allows engineers to quickly reconfigure the system for the next set, work with a large number of inputs and mixes, keep the project structure clear, and check routing before the artist goes on stage.

DiGiCo consoles are used at major international festivals — from Coachella and Wonderfruit Festival in Thailand to Montreux Jazz Festival, iHeartRadio Music Festival, and Summerfest in the United States. In recent years, the console has also been used at the International Jazz Festival in Uzbekistan. For a rental company, this means less time spent preparing between performances, faster artist changeovers, and a lower chance of schedule delays.

Less Equipment, Fewer Points of Failure

A modern concert system rarely consists of a single console. A project may involve playback systems, multitrack recording, wireless systems, personal monitoring, broadcast feeds, and communications at the same time. The more of these elements can be integrated within one manageable system, the fewer external devices, unnecessary connections, and potential points of failure there are.

On Halsey’s Back to Badlands tour, the team chose two DiGiCo Quantum 338 consoles after experiencing problems with the previous console and equipment compatibility. One of the key factors was integration with the Dante playback infrastructure: with DMI Dante cards, the connection could be made directly through the console, without additional external interfaces. This helped reduce the amount of rack equipment, decrease the number of cables, and make the system more stable.

Headroom for Complex Productions

In large-scale productions, the console is responsible for much more than the main front-of-house mix. Dozens or even hundreds of signals pass through it: vocals, instruments, host microphones, playback tracks, artist monitor mixes, broadcast and recording feeds, and communication lines. All of this needs to be routed, processed, and sent to the right destinations quickly, without overloading the system.

One example is a project by Indian company Reynold’s Sound & Lighting Services. At the One World One Family festival, a DiGiCo system was used on a project that set two Guinness World Records: more than 220 input channels were mixed on the Quantum 852 at the FOH position, while the Quantum 112 was used as a separate console for communication lines and additional signals, helping to keep the main FOH console focused on the primary mix.

Built-In Processing Inside the Console

One of the key advantages of DiGiCo Quantum is the ability to handle a significant amount of processing inside the console itself. For an engineer, this means there is not always a need to build a separate rack of external processors, additional devices, and complex cabling.

The Quantum range offers tools such as Mustard Processing, Spice Rack, and Nodal Processing. These allow engineers to work with dynamics, EQ, and signal processing directly inside the console. This does not exclude the use of external processors when an engineer needs them, but it does provide more possibilities without unnecessary external equipment.

On Thee Sacred Souls’ tour, Quantum’s capabilities were especially important at the monitor position. The engineer needed to quickly build individual mixes for musicians, process vocals and instruments, connect guest artists, and avoid overloading the system with external processors. Quantum allowed a significant part of these tasks to be handled directly inside the console.

DiGiCo Is Already in the Rental Inventories of Regional Companies

In Central Asia and the Caucasus, DiGiCo consoles are already part of the rental inventories of several companies:

YASTREB-SOUND in Tashkent — DiGiCo Quantum 338 and Quantum 326;

Starring Georgia in Tbilisi — DiGiCo Quantum 338;

Sound City in Tbilisi — DiGiCo Quantum 338;

HEADLINER in Bishkek — DiGiCo Quantum 225 and SD9;

Pro Sound in Tbilisi — DiGiCo Quantum 338.

DiGiCo is also widely represented in the rental inventories of Russian companies, including Stage Audio, Live Sound, and Euroshow. This further confirms the console’s status as a sought-after solution for concert rental, touring, festivals, and large-scale event projects.

This is important for artists, organizers, and technical directors: a rider-approved console can be found not only on the international market, but also from local rental companies.

Sound Creations, the official DiGiCo distributor in Uzbekistan, Kyrgyzstan, and Tajikistan, actively develops the rental community by providing technical support to companies and running training programs for both beginner and experienced specialists.

Conclusion

DiGiCo is increasingly appearing in the technical riders of international artists and their engineers because the console solves real rental tasks: it helps teams load show files faster, pass technical approval, work across different venues, integrate multiple parts of a sound system, and maintain a clear operating logic for guest engineers.

For rental companies in Central Asia and the Caucasus, having a DiGiCo console in their inventory is a step toward world-class projects. When artists and their teams see that a country has a console they already know, technical teams have fewer questions about the venue’s setup, while rental companies gain more opportunities to take part in international-level projects. As a result, the company becomes better prepared for more complex concerts, festivals, and tours, and the console works not as a one-time investment, but as a long-term tool for keeping the rental inventory in demand.

For orders and consultation, please contact Danila Khavtorin, Brand Manager for L-Acoustics & DiGiCo:

kda@sc-electronics.com | +971 54 997 3227