Matt Geasey's and Mike Tracey's sound design for the show centers around the d&b V-Series loudspeaker system, as a versatile platform for delivering consistent quality across the many different venue types. The V-Series is a compact yet extraordinarily powerful design, combining exceptional clarity with impressive dynamic bandwidth and headroom normally associated with its bigger brother, the J-Series. The touring system comprises fourteen V8 cabinets, four V12s, and four V-SUBs, which are designed to be flown or ground stacked, giving the show's sound crew complete configuration freedom depending on an individual theatre's requirement – all driven by d&b D12 dual channel amplifiers. The V-Series speakers are complemented by additional d&b E6 fill cabinets.

Dreamgirls' No 1 operator Tim Riggs spends a lot of time behind the show's other workhorse – the Yamaha CL5 mixing console. Already very familiar with the Yamaha concept, Tim has been working the board hard, and reports that it is turning in a solid performance. Mixing the show is a challenging task, as he explains:
"This show feels like a runaway train sometimes; it just keeps going non-stop all the way through! The challenge is to keep it exciting for the audience without wearing them out. While there are the obvious big production numbers, there are also lots of intimate moments, and we really do use the system's full dynamic range to ensure that you can hear the dialogue wherever they are on stage. It is a tough job to get it right, particularly with regard to the clarity of the vocals, when we have so little time in the same venue. There is one song called "Family", which is my benchmark moment – this is when I know if I have got it just right. When the music ends, there are just five members of the cast signing in harmony. If the audience responds with "oohs" and "aahs", I know we have nailed it!"

The sound design also specified the use of the Shure UHF-R wireless microphone system, principally using the UR1-M micro bodypack transmitters. Tim has been impressed, explaining:
"The Shure UHF-R radiomics have been great and to be honest, I have been really surprised as this is the first time I have worked with them. They are very solid, with an all-metal body, as well as first class connectors and RF."

Other components include MOTU Digital Performer 8, which is used heavily for time code and backing tracks. For the show communications system, the team is using the Clear-Com Tempest, which is a firm favorite with the tour's sound assistant, Chuck Harbert. Tim and Chuck typically bring in four local sound technicians to help with each set-up, with one staying on hand during the show. All of the sound equipment is loaded onto the number 2 truck, getting them on site around 8am on the load-in day. The technique is to stay out of the way down stage left until they get a quiet hour in the afternoon when it's possible for Tim to make some noise, leaving Chuck to get on with the logistical side of the set-up.

For Matt Geasey, Dreamgirls combines the sound quality demands of a big Broadway production with the challenges of a national city tour. The high-end choice of equipment is delivering an exceptional sounding result:
"This was an exciting show to work on, with the brief from Big League Productions being to create a brand new sound design that would wow the audiences. The sound design is the only completely new element to the show, and we wanted the freedom to specify a high quality system that would do it justice. The d&b V-Series has delivered just that – it's an amazingly innovative product that is perfect for touring with its compact and flexible configuration options. We've had great support from the Orbital team at every stage – from the system build in their shop, through to the ongoing technical support, including seamlessly integrating a complete new frequencies set from their RF guru, Jeff Hahn, for each city, which is enormously helpful. Above all, Tim is doing a fantastic job of mixing the show, keeping it as consistent as possible from venue to venue."