Adam contacted Steve Davies at London-based Subfrantic Production Services, who supplied the system including an RPio622 I/O unit, and provided the company’s new rehearsal facilities for Adam’s tour pre-production.
“Having everything under one roof was a huge help, saving time and money on the logistics of transporting the control package from supplier to rehearsal space and so on. It also allowed me to relax and ensure that I didn’t forget anything,“ says Adam.
“Walking up to the PM7 for the first time didn’t feel daunting at all. I started with some multitracks from a previous tour, converted my CL5 file to give me a starting point for input EQ and channel naming. Everything felt familiar and I didn’t have to search for anything. It was easy to get a decent mix going quickly,” he says.
“The biggest difference is that, due to the frame size and the amount of dedicated encoders on the surface, you find yourself moving away from the more touchscreen-based mixing of other consoles and back to a more analogue style workflow.”
Impressed by the many high end features included as standard on the RIVAGE PM7 system, Adam found the DaNSe noise suppression a particular help.
“It’s an amazing plugin, with no amps on stage, the only noise coming from there is drums and DaNSe really helped me to tame cymbal spill into the lead vocal and drummers backing microphones. It meant I could happily leave the microphones open, even when not in use. It’s so simple to set up and most of the time it only requires an adjustment to the threshold to achieve the desired result,” he says.
“The delay compensation was also very useful. I use a fair bit of parallel compression, so never having to worry about whether everything was in phase when hitting the master bus was really great, no matter how many plugins I was using in the signal chain.”