The tour also includes special guest performances by Daughtry, Shaman’s Harvest, and Cheap Trick.
“The more I heard about the PM10, I couldn’t help but be interested, states front of house engineer, Joe Keiser. I contacted Chris Taylor of Yamaha and he set me up with a demo in Nashville and then turned me loose on his console, so I could prep for the tour before I ever saw the actual PM10 console I would be using.”
Keiser spent an evening mixing pre-recorded tracks and could tell instantly that he wanted to use the PM10 console for this tour.
“The main reason was audio quality and reliability, he says. It’s nice to turn it on, watch it boot up quickly and you are ready to go. Solid is how I would best describe its reliability, and the sound is big. I had recorded tracks from the previous tour mixed on several different consoles, but the PM10 instantly sounded better. I’m spending more time mixing and less time trying to get the sounds I want for a solid performance.”
Keiser says his favorite feature is SILK. “Right now, it’s engaged on all but a couple of channels. It’s nice to have all the different options available per channel: aggressive, smooth, vintage, etc. Custom fader mode allows me to configure the console layout any way I desire without changing the input patch.
The time-based effects are really good. I’m not carrying any outboard reverbs or delays, and that’s a first for me. Currently I’m using the Rupert Neve 830 and the DBX 276 compressors based off some of the vintage pieces. Yamaha has done a good job re-creating them for PM10 console. I also really like the Dynamic EQ – perfect for a little molding with vocals without just hacking the EQ. The interface between the console and DAW is rock solid; I’ve been using Nuendo for show recording as well.”
James Bump, monitor engineer for Nickelback said after he read a few articles, watched videos, and heard reviews of the PM10 he knew he wanted to get his hands (and ears) on it.
“I was called by Clair and asked if I wanted to do the Nickelback tour and if I wanted to use the Yamaha PM10,” states Bump. “I was excited and immediately responded, yes. I flew to Lititz to start training at Clair on the PM10. The instructor had a last minute conflict so training had to be pushed back to the next day, but the desk was all set up for me to look at so I grabbed a microphone, my iPhone, JH Roxanne in-ears, sat down at the desk, and off I went. Three hours later, I had set up the console for a makeshift show with built-in effects routed and assigned, compressors and gates turned on and adjusted, mixes sent to outboard IEM units, and the SILK feature applied with just the right amount of saturation on the vocal channel.
“I’ve been on many digital desks and was never satisfied with the sound of the vocals until the PM10. Sonically, overall the PM10 is amazing. I’ve had to do very little EQ and didn’t have to add plugins to make channels sound good and natural. I use SILK on almost every channel, all set around the 6-8 saturation level. I apply the “blue” SILK on drums, bass, and anything that I want to get a nice, smooth low end out of. I use the “red” SILK on guitars, vocals and anything I want to get a smooth high end out of. SILK is amazing; you can really hear the effect it has. Also, the stereo field of the console is wide and makes placement for a clear and defined mix easy.”
With Nickelback, Bump uses a total of 4 main stereo mixes. “And, I’m a big fan of the custom faders and also use scenes for each individual song. I have found the PM10 (as most Yamaha products) to be very reliable. I don’t plan on touring with any other desk in the foreseeable future.”