Paul has used Yamaha digital mixers for many years and was one of the first Dutch engineers to use the PM1D, first with Marco and then on a theatre production. “In the theatre everybody thought I was crazy, because it’s such a big desk,” he says. “But I showed them the first layer was Front of House and the second layer was monitors, so it was really two desks.”
He continues, “I had been looking for another console for some time and really liked the RIVAGE PM7. Peak Audio were into it as well, so I was very pleased when they made the investment.”
Such is Paul’s confidence in Yamaha - and the artist’s confidence in Paul - that these stadium shows were the first that he had mixed monitors on the RIVAGE PM7. But he couldn’t have been happier. “It’s small in size, but it has so many tools and is so fast and logical to use,” he says. “You can create custom layers really quickly, you’ve got the Rupert Neve Designs plug-ins, you’ve got Dante... it’s all there.”
The monitor set-up for the shows featured 118 inputs, including 16 channels of backing tracks and 12 talkback mics for the seven onstage musicians and five crew (“RIVAGE PM7 has an excellent routing system for talkback,” notes a happy Paul). There were 70 outputs, mainly stereo in-ears and a number of wedges, keeping onstage SPLs low, but not compromising on atmosphere for the performers.