"We were on the Midas site to download some updates for the PRO6," says Atlanta Sound & Lighting GM Scott Waterbury, "and my lead engineer, Tom Smith calls me over and says, 'check this out, they've got a PRO3'. I took a look at it online and called my rep to get the story. By the end of that phone call, my order was in the system."
Waterbury, who has headed Atlanta Sound since 1978, does not consider himself a classic early adopter. "I admit it - I was slow getting into the digital realm. We tried all the usual suspects and even bought a couple, but I was never really happy with the sound. I still have a (Midas) XL200 and a couple of Heritages, and frankly, digital didn't measure up. Then I heard the PRO6, and that changed everything."
One thing Waterbury appreciates about the PRO Series consoles is Area B, which allows the four right-hand faders to be used independently from the rest of the console surface. This allows two engineers to work simultaneously. "Area B allows our system tech to assist the touring engineer without being in his way," he says. "He can be patching gates, limiters and effects, setting up for the next act, or assisting with the mix."
Another big advantage of the Midas PRO3 is the fast learning curve for visiting engineers. In particular, the instant access to grouped channels via the PRO3's 10 dedicated VCA faders and six POPulation Groups ensures that even first-time users will never get "lost" while navigating the control surface.
"Our lead engineer, Tom Smith, needs no more than about 10 minutes to teach this board to visiting engineers, which is phenomenal," notes Waterbury. "After he shows them the VCAs and POP Groups, the first thing they say is, 'hey, this is easy.' But the real key is when they bring up a fader and hear the sound. That always brings a smile, and you know it's going to be a great show."
(Jim Evans)
