Mark Woodcock, an independent sound engineer, production manager and head of Man In Motion Productions, opted to go with Midas digital consoles in mixing Richie Sambora’s solo tour and for long-time client Bush.
“I’ve always loved the Midas sound, but had been carrying another console for several years, basically because of the easy access to all the plug-ins,” Woodcock notes. “But then I found myself on a PRO6 when Bush was heading to Asia to do some shows with Evanescence.
“Sound Image sent one over to rehearsals, and I worked with a tech to build my show and get familiar with it. It took me a day to wrap my head around it, but it was pretty easy after I learned the basics. The bottom line is, the sound was amazing right off the bat, and I’ve been on Midas ever since.”
After the Bush tour, Woodcock got the gig mixing front of house for Richie Sambora, who was going out in support of his new solo album, Aftermath of the Lowdown. “Richie is obviously an amazing player, but people don’t realize what a great singer he is. Plus he put together this amazing band. As soon as I heard them, I knew it would take a Midas desk to do them justice. I chose the PRO9 for our European run.”
Sambora’s show runs well over two hours, incorporating the new solo material along with a few Bon Jovi tunes and some other covers. “He just goes out and has fun,” says Woodcock. “You never know what’s going to happen. I mean, there’s a set list, but on any given night, he’ll call an audible and everyone just has to be ready.
“With the POP Groups and VCAs on the Midas, I’m not in layers anymore, which makes everything quicker and easier. I hit one button and everything I need is right on top. I’m kind of old school, so it’s perfect for my style of mixing a rock show. It’s a live band and you’re in the moment with them, so that’s how I do it – on the fly. Frankly, I get better results and more enjoyment mixing that way.”
Woodcock used the Sambora tour to delve even deeper into the Midas digital world, opting to add the Klark Teknik DN9331 Rapide graphic EQ controller to his rig. “It’s basically a remote for all your on-board EQs,” he explains. “It lets me bounce between all my KT EQs – on subgroups, front fills, mains, wherever, all without ever using the surface. What a great tool.
“The way Midas got the sound of the XL4 preamps and Klark Teknik EQs into the digital world so seamlessly is the key. I know it’s a 96k system and the height of technology, but the bottom line is, they used it the right way,” he concludes. “For me, Midas is the closest you can get to an analog console sound in the digital world. Let’s put it this way: it’s on my rider, and that’s not going to change.”