Options
Pearl Jam Converts To Digital
Pearl Jam engineer Karrie Keyes has chosen a Midas PRO6, supplied by Rat Sound, for the band’s 2010 tour.
This marks a digital first for Keyes, who has never before taken a digital console on the road.
A devotee of the sound quality of Midas analogue consoles she has been mixing monitors since 1991 and, in recent years, more usually opted for a Heritage desk.
“In the past,” says Keyes, “we have not been able to get (vocalist) Eddie Vedder on a digital because we’ve not got the sound quality but the PRO6 has really delivered. “
“We have found no issues with latency and the band loves the sound.”
“I felt pretty comfortable with it after the first show,” she said, “and the factory support from Midas is amazing.”
Particularly impressive for Keyes was the PRO6’s ability to handle her relatively complex set-up. Keyes will be using all 32 outputs for the European leg of the tour as several of the six band members and three members of the tech crew augment their stereo in-ear mixes with wedges and sidefills.
“I really love that the matrixes are actually just another set of outputs,” she said, “I have the in-ears on the matrixes and my wedges and sidefills on the aux sends.”
“The key to mixing monitors for Pearl Jam is keeping my eyes on Ed and the band the entire show.”
“Pearl Jam has a lot of cues, but they are not scene cues that can be programmed and a lot of them are for more than one person at the same time.”
“With the PRO6, I have everything I need on the surface at the push of a button. That’s hugely important to me.”
“This product was really thought through when Midas designed it,” said Keyes. “Plus the video screens are wonderful. I can see them even in the sun.”
For channel equalization, she uses the Klark Teknik DN9331 Rapide graphic controller, a rack-mountable, traditional 31-band surface for dialing in the console’s on-board KT graphic EQs.
Keyes also appreciates the benefits that only her adoption of digital can allow; her set-up time has been significantly reduced with the PRO6, not least because the 500 feet of cable required for an analogue console is now handled by a single Cat5 cable.
However, in the end, performance is the most important aspect of all. “The main thing for me was learning how to get it to act as an analogue console, and I’m happy to report that the PRO6 can do that with ease,” said Keys.
“After one tour, it’s already like I have always mixed on it.”
http://www.prosoundweb.com/article/pear ... ith_midas/
This marks a digital first for Keyes, who has never before taken a digital console on the road.
A devotee of the sound quality of Midas analogue consoles she has been mixing monitors since 1991 and, in recent years, more usually opted for a Heritage desk.
“In the past,” says Keyes, “we have not been able to get (vocalist) Eddie Vedder on a digital because we’ve not got the sound quality but the PRO6 has really delivered. “
“We have found no issues with latency and the band loves the sound.”
“I felt pretty comfortable with it after the first show,” she said, “and the factory support from Midas is amazing.”
Particularly impressive for Keyes was the PRO6’s ability to handle her relatively complex set-up. Keyes will be using all 32 outputs for the European leg of the tour as several of the six band members and three members of the tech crew augment their stereo in-ear mixes with wedges and sidefills.
“I really love that the matrixes are actually just another set of outputs,” she said, “I have the in-ears on the matrixes and my wedges and sidefills on the aux sends.”
“The key to mixing monitors for Pearl Jam is keeping my eyes on Ed and the band the entire show.”
“Pearl Jam has a lot of cues, but they are not scene cues that can be programmed and a lot of them are for more than one person at the same time.”
“With the PRO6, I have everything I need on the surface at the push of a button. That’s hugely important to me.”
“This product was really thought through when Midas designed it,” said Keyes. “Plus the video screens are wonderful. I can see them even in the sun.”
For channel equalization, she uses the Klark Teknik DN9331 Rapide graphic controller, a rack-mountable, traditional 31-band surface for dialing in the console’s on-board KT graphic EQs.
Keyes also appreciates the benefits that only her adoption of digital can allow; her set-up time has been significantly reduced with the PRO6, not least because the 500 feet of cable required for an analogue console is now handled by a single Cat5 cable.
However, in the end, performance is the most important aspect of all. “The main thing for me was learning how to get it to act as an analogue console, and I’m happy to report that the PRO6 can do that with ease,” said Keys.
“After one tour, it’s already like I have always mixed on it.”
http://www.prosoundweb.com/article/pear ... ith_midas/
Post edited by Unknown User on
0
Comments
they converted to digital when they shot touring band though
no more super 8
I can still hear the faint tearful cries of 'it's a little pixely sometimes...'
i guess
jo
http://www.Etsy.com/Shop/SimpleEarthCreations
"How I choose to feel is how I am." ~ EV/MMc
"Some people hear their own inner voices with great clearness and they live by what they hear. Such people become crazy, or they become legends." ~ One Stab ~
*NYC 9/28/96 *NYC 9/29/96 *NJ 9/8/98 (front row "may i play drums with you")
*MSG 9/10/98 (backstage) *MSG 9/11/98 (backstage)
*Jones Beach 8/23/00 *Jones Beach 8/24/00 *Jones Beach 8/25/00
*Mansfield 8/29/00 *Mansfield 8/30/00 *Nassau 4/30/03 *Nissan VA 7/1/03
*Borgata 10/1/05 *Camden 5/27/06 *Camden 5/28/06 *DC 5/30/06
*VA Beach 6/17/08 *DC 6/22/08 *MSG 6/24/08 (backstage) *MSG 6/25/08
*EV DC 8/17/08 *EV Baltimore 6/15/09 *Philly 10/31/09
*Bristow VA 5/13/10 *MSG 5/20/10 *MSG 5/21/10
as far as i am concerned it's about time to release a double/triple mastered disc with at least 30 songs ala live on two legs
2006 Vienna, Zagreb
2007 Munich
2009 Berlin
2010 Dublin, Belfast, Berlin, Venice
2011 Montreal, Toronto 1&2
2012 Manchester 1&2, Amsterdam 1&2, Prague, Berlin 1&2, EV Manchester
2013 Worcester 1&2, Brooklyn 1&2
2014 Amsterdam 1&2, Manchester 1&2, Milano, Trieste, Vienna, Berlin
2017 EV Firenze, Taormina 1&2
2018 Amsterdam 1&2, Padova, Prague, Krakow, Berlin
2019 EV Firenze
I believe this has more to do with their in-ear-monitors as opposed to anything going onto bootlegs or into the FOH mix.
*NYC 9/28/96 *NYC 9/29/96 *NJ 9/8/98 (front row "may i play drums with you")
*MSG 9/10/98 (backstage) *MSG 9/11/98 (backstage)
*Jones Beach 8/23/00 *Jones Beach 8/24/00 *Jones Beach 8/25/00
*Mansfield 8/29/00 *Mansfield 8/30/00 *Nassau 4/30/03 *Nissan VA 7/1/03
*Borgata 10/1/05 *Camden 5/27/06 *Camden 5/28/06 *DC 5/30/06
*VA Beach 6/17/08 *DC 6/22/08 *MSG 6/24/08 (backstage) *MSG 6/25/08
*EV DC 8/17/08 *EV Baltimore 6/15/09 *Philly 10/31/09
*Bristow VA 5/13/10 *MSG 5/20/10 *MSG 5/21/10
This
2010: 9/7/10 - Bilbao
2012: 26-27/6/12 - Amsterdam ~~ 29/6/12 - Werchter ~~ 4-5/7/12 - Berlin
2014: 25/6/14 - Vienna ~~ 26/6/14 - Berlin