DiGiCo Quantum 338, Yamaha CL5, Avid VENUE S6L, Allen & Heath dLive — FOH and monitor desks with full Dante, MADI, and Optocore networking. Pre-built show files, virtual rehearsal in the shop, engineer on the chair through strike. 24-hour response.
Tour-grade flagships for arena concerts and broadcast, mid-format desks for theaters and corporate keynotes, festival monitor-world consoles, and broadcast-tethered surfaces for film mix and TV production. Every desk ships with show file prep and an engineer who has driven that surface before.
DiGiCo Quantum 338 and Quantum 225, Avid VENUE S6L 32D. 128 to 192 input paths, 24 mixes, 8 FX engines. The desks visiting touring engineers expect to walk up to and start working.
Yamaha CL5 and CL3, QL5 for tighter budgets. 64 to 72 channels, Dante-native, simple to operate, recall scenes for every keynote segment. Pre-built show files load in 30 seconds.
Allen & Heath dLive S5000 and S7000, DiGiCo SD10 for back-line monitor engineers. 32 mixes, IEM and wedge routing, fast scene recall between artists at festival turnarounds. Festival-proven.
Avid VENUE S6L with HDX cards for Pro Tools tether. Studer Vista for live broadcast. Yamaha QL5 with Dante for podcast and conference broadcast feeds. MADI, Dante, AES67, and AES3 routing handled in the rack.
No substitutions on bid day. The desk on the rider is the desk in the FOH position.
Quantum 338 is the current tour-touring flagship — 128 input paths, 64 mixes, fast snapshot recall, Mustard processing on every channel. Quantum 225 for mid-format. We still stock SD7 and SD10 for legacy riders. Every Quantum ships with Optocore stage racks and the show file pre-built when the touring engineer sends it ahead.
S6L in 24D and 32D frame configurations. The default for Pro Tools-tethered broadcast and any show where the FOH engineer wants AAX plugins on every channel. HDX card integration for full Pro Tools recording at any session rate. We also stock the older Profile for legacy riders.
CL5 is the corporate and conference workhorse — Dante-native, fast scene recall, sub-30-second startup. CL3 for smaller frames. QL5 for budget-tier and broadcast send work. The CL series is the desk most LA conference rooms know how to use, which matters when the venue tech is part of the show flow.
The festival monitor-world choice — 128 input channels, 64 mix buses, snapshot per artist, fast cue-list workflow between sets. The S7000 surface is larger and faster for engineers who need every mix on a fader at once. Driven over gigaACE to DM0/DM32 stage racks.
A modern audio rig is more network than desk. Here's how we wire it.
Channel counts by format. A four-piece band: 32 inputs, 12 monitor mixes. A touring rock act: 96-128 inputs, 24 monitor mixes, 8 FX. A corporate keynote: 16 mic channels plus 8 playback and 4 Q-Sys returns. A film premiere with live score: 64 inputs, broadcast send, Pro Tools record. A festival monitor desk: 64 inputs, 32 mixes, fast scene recall per artist. We map every brief to the smallest desk that fits with 25 percent channel headroom.
Networking: Dante, MADI, Optocore. Dante is the corporate and broadcast default — single Cat6A run carrying 64 channels at 96 kHz, redundant primary/secondary routing. MADI handles point-to-point console-to-stage box and broadcast send/return. Optocore is the DiGiCo touring standard — fiber loop carrying everything from FOH to monitor world to playback rigs at sub-millisecond latency.
Playback and broadcast integration. Pro Tools tethers to Avid S6L over MADI or HDX. QLab playback rides Dante. Click and time-code feeds route as discrete channels to monitor world. Broadcast send feeds route as AES3 or Dante to the venue broadcast position or directly to our livestream rig. We pre-build the session file when the band or production team sends stems ahead, and we run virtual rehearsal in the shop before truck call.
Redundancy. Every show file gets backed up to a second console (or a second surface engine). Dante runs primary/secondary cables. Optocore runs ring topology so a single cable break doesn't break the show. Mic preamps in the stage box have local backup gains in case the network drops. The system tech monitors network health from a laptop at FOH during show.
We don't publish a rate card because two shows with the same channel count rarely cost the same. What drives the number: surface choice (Quantum versus CL versus S6L is not a substitution), channel count and mix buses, Dante/MADI/Optocore network scope, playback integration (Pro Tools, QLab, broadcast send), pre-show file prep hours, virtual rehearsal time, engineer call-time, and how much load-in lives inside our 24-hour window. Tell us what you're building and we'll come back with a number engineered to it.
Want a directional view before you brief us? Browse the full audio stack — desks, PA, mics, monitors all live in one inventory so we can quote the whole signal chain end to end.
Our LA dispatch covers every working venue from the harbor up through Pasadena. We know the FOH positions and the networking infrastructure venue by venue.
The Quantum 338 file for a touring concert and the same desk for a Fortune 500 keynote look nothing alike.
Send the stems and the patch sheet a week out — we build the session in the shop, run virtual rehearsal, and load in with the show already on the desk. Full service list.
Dante, MADI, and Optocore networking gets planned in CAD before truck call. Cable runs labeled, switches managed, redundancy tested. The visiting engineer plugs in and works. How we work.
Send venue, rider, and channel count. Real bid back inside 24 hours on a business day. Inspired? Let's work together..
We start with channel count and format. A four-piece band might need 32 input channels and 12 monitor sends; a touring rock act might need 96 channels, 24 mixes, and 8 FX engines; a corporate conference might need 16 mic channels but a complex playback and Q-Sys handoff. From there we pick the desk that matches the rider — DiGiCo Quantum for tour-grade, Avid S6L for Pro Tools-tethered broadcast, Yamaha CL5 for corporate, Allen & Heath dLive for festival monitor world. Quote follows the channel sheet.
DiGiCo Quantum 338 and Quantum 225 (and the older SD7 and SD10 for legacy riders). Avid VENUE S6L in 24D and 32D frame configurations. Yamaha CL5 and CL3 (plus QL5 for budget-tier). Allen & Heath dLive S5000 and S7000 surfaces. We also stock control surfaces for hybrid workflows — DiGiCo Q-Rack and S21 for budget riders, Yamaha Rio stage boxes, A&H DM0/DM32 racks.
That's the standard build. Stage box mic preamps feed both consoles over Dante, MADI, or DiGiCo Optocore. Each engineer has independent gain control on their channel of the split. We also network playback rigs (Pro Tools, QLab), wireless mic receivers, and broadcast send/return paths into the network. For festival multi-stage builds we run a venue-wide audio network with managed switches and redundant primary/secondary routing. See the PA System page for the speaker side.
Yes. Every console rental ships with at least one engineer — FOH engineer for the room mix, monitor engineer if monitor world is part of the scope, system tech for the PA tune-up. For touring shows that bring their own FOH or monitor engineer, we provide a system tech to receive the rider, prep the desk, walk through the patch, and stay through line check. For corporate and conference shows, our engineer runs the show.
Pro Tools tethers to Avid S6L over MADI or HDX cards — the cleanest path. For DiGiCo, Yamaha, or A&H consoles, Pro Tools rides on Dante or MADI through a converter. QLab playback runs over Dante. Click and time-code feeds route as separate channels to monitor world. We pre-build the session file before truck call when the band sends stems ahead, and we run a full virtual rehearsal in the shop before load-in.
Same business day for any LA-area event with a known venue, date, and rider (or channel count). You'll have a real bid back the same day. Complex broadcast or multi-stage festival audio scopes may need an extra 24 hours for the final patch sheet, but a budget range lands same-day.
