As they would be performing exclusively back catalogue material, converting the classical analogue early '80s synth-driven New Romantics sound into digital, it seemed a natural choice for them to use Midge's long-serving FOH engineer Berenice Hardman and production manager/monitor man, Dave Claxton.
In 'switching codes' to digital Claxton and Hardman opted for the Soundcraft Vi6 for FOH after much evaluation, sourcing their requirements - including a JBL VerTec line array system - from Adlib Audio, with whom they have enjoyed a long relationship.
"I've used most of the digital boards on the market and never been overly happy with any of them. It always seems to be a compromise between footprint and usability, with the former winning the battle," says Hardman.
Hardman was helped by the fact that she had one of Adlib's arch VI6 exponents, Hassan Essiahi, babysitting the system on tour. "Since Berenice comes from the analogue school it was important than any digital desk responded like an analogue board - with channels, VCA's and FX in a row - which the Vi6 does. She didn't want to be constantly moving between screens to effect changes," said Essiahi.
Production carried a scalable reinforcement system but for the most part rigged between eight and ten JBL VerTec VT4889 enclosures per side supported by four or six VerTec 4880 subs per side underneath.
(Jim Evans)
