It was the band's vocalist Ed Macfarlane who prompted the change to Midas. "We did a couple of shows with an XL3 and he loved the sound of it," explains monitor engineer Simon Lutkin. "We then encountered some PRO6s and XL8s at festivals, which sold it to us both. I had used Midas digital before on FOH and knew the sound quality was equal to, if not better than, most analogue desks. When I started using the PRO6 in rehearsals I knew it was going to work straight away. I now have the best of both worlds - a great familiar Midas analogue sound in a flexible digital package."
Working with between 32 and 40 inputs per show, Lutkins is dealing with four stereo IEM feeds, six wedge mixes, sidefills and a butt kicker. "I'm using AES outs for my wedge mixes, and I have a DL351 and a DL451 loaded up to give me 56 inputs, 24 analogue outs and eight AES/EBU I/Os," he says.
Lutkins is using the PRO6's POPulation Groups to populate Area B of the PRO6's control surface. "I have a POP Group for my click channels which are available on Area B the whole time so I can keep an eye on them," he says. "I need to send click all through the set to the drummer, and also to other members at various points, so it's a great help to have them there to grab and monitor."
Friendly Fires continues its tour in 2012 across Australia, Asia and into South America and Lutkins is excited about the possibility the new Midas PRO2 offers. "The unveiling of the PRO2 made the move to the PRO6 really sensible," he says. I'm looking forward to transferring my files over and having a smaller, more cost effective option available when required."
(Jim Evans)
