With no previous files to install, Jones's first task was to build the entire show from scratch for an artist who draws on an extensive repertoire for his sets where, according to Jones, no two shows are ever the same. But the basic show with 20 or so scenes was ready to go pretty quickly, and his final set up encompassed some 45 scenes.
Savage, who has completed in-house training at Midas, helped with the initial set up. Utilising the XL8's flexible modular system, they decided on three DL431 splitter units to create a total of 72 available channels plus an isolated split to allow for any outside broadcast or recording system requirements. A single DL451 I/O box with AES input and output cards on stage allowed transmission of digital or analogue signals to and from stage.
Two DL451 I/O boxes FOH, one set up with AES and two input cards and one with AES and two output cards, were housed in the outboard effects rack to facilitate ease of cable patching in the units, while a separate PA Drive Rack housed the processing. Just two AES cables were needed to link the two racks together.
Separate show files were used for each of the bands, with each song having its own scene within the show, containing its various different settings and MIDI changes for the external effects. "We really expect a lot from this or any desk when it comes down to the automation side of things," says Savage," and the XL8 managed all these tasks with ease."
(Jim Evans)
