Subfrantic invests in Yamaha Rivage PM10
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London-based Subfrantic has steadily increased its profile in the UK and overseas production markets ever since it was founded in 1993, when digital mixing for large live shows was unheard of. “At that time Yamaha’s PM4000 was an industry standard, analogue Front of House console,” remembers managing director Steve Davies. “It was a rare treat to find yourself behind one, although quite the opposite to realise you had to get it up some stairs.”
The 2001 launch of Yamaha’s digital PM1D set the live production industry on the path it continues along today. As Steve says, Yamaha was “the driving force behind the digital revolution”.
“When the M7CL came along in 2005, it really changed the industry,” he continues. “It was the first digital console that was considered affordable to the masses and we were part of the wave of companies that bought into it. Along with the following LS9, it turned the industry’s scepticism about digital consoles around and led directly to today, where digital is the norm.”
Looking for a second console for mixing the company’s large format line array, Steve and his team considered various digital mixers that could meet their criteria. However, having Yamaha’s new flagship Rivage PM10 system was, for him, “a no-brainer”.
“We spent a lot of time looking at every factor surrounding the choice; we had long discussions with Yamaha about people who wanted to use it and they were all sensible engineers that we’d value working with,” he says.
Yamaha UK worked closely with Subfrantic throughout the pre- and post-sales process, offering training, technical support and making sure Steve and his team were completely comfortable with getting the most from the system, both before and after it was delivered.
“Yamaha’s support has, as always, been amazing,” Steve notes. “We feel valued and supported as a customer and are happy to help them raise awareness of the system and how good it is.”
Only a week after taking delivery, Subfrantic had used the Rivage PM10 system on classical and gospel music events, where it impressed all the technical staff involved.
(Jim Evans)
