Honywill took a 96-input desk - using 93 of the available channels for mixing the Royal Philharmonic Orchestra, and for special effects playbacks. "I have used all the digital desks in the marketplace, and I'd say they are all good," he reports. "The difference with the Venue is that it is really good. There's something about it . . . it is really the sweetest sounding, most easy to use desk, and it feels nice."
In particular, he singles out the Focusrite compression, which he says is highly effective in the classical context. "You can use a Focusrite d3 plug-in on an opera singer and it sounds really transparent; everything Digidesign say about it is true."
For the classical work he is using mainly Focusrite EQ plug-ins, with a Sony Oxford stereo 6-band overall EQ for the entire mix. "I put the Focusrites across the various string sections, using them to shape the all-important string balance around which everything else fits, and the Oxford as the final master EQ."
Although the concept of miking and amplification may be anathema to an orchestra, RPO manager Liz Forbes is permanently ensuring that the sound experienced by the auditorium is first class. "She appreciates what goes into the mix," acknowledges Honywill. However, the sound engineer notes that the German tour afforded precious little rehearsal and soundcheck time. "Therefore it was good to be able to dial up the previous show on the desk, and start from where you last left off!"
Having already flexed Venue's muscles on a blues festival in the early part of the summer Honywill is also anxious for the new Chris Rea tour to come around in the Spring. "He's gone with big-time retro blues this time - which will enable me to go with some of the valve plug-ins on the desk," he says.
Sound production for both the Classical Spectacular events and Chris Rea tours is in the capable hands of RG Jones.
(Lee Baldock)
