In a festival environment, the rapid changeover between performers puts serious demands on the technical staff and equipment. Switching between such varied musical offering as Toby Mac, who likes to rock loud and hard, followed by an acoustic set with Michael W. Smith and Third Day's Mac Powell and you have musical diversity at its finest, and technical requirements at the extremes.
The 2010 “Make A Difference Tour” featuring Third Day (full band), TobyMac, Michael W. Smith along a presentation from with best-selling author Max Lucado did just that in 20 different locations last year.
“The moment TobyMac says ‘good night' on the main stage, we would go to the B stage for an acoustic set with Michael W. Smith and Mac Powell from Third Day while the main stage is reset. There's no break at all,” says Dave Jacques, sound engineer for both Michael W. Smith and his long-time client Third Day.
Front-of-house engineers for the tour were Ryan Lampa and Dave Jacques. Nashville-based Lampa mixed TobyMac and also acted as tour manager and production manager, roles he has filled for the past six years with the band. Jacques is also head of application support for National Audio Systems, a major pro audio supplier in his native Australia.
Orlando-based LMG Touring supplied all of the audio, video and lighting for the tour which mostly included stops at arenas of between 5,000 and 10,000 seats.
Loudspeakers were mostly d&b audioteknik J Series, with Q Series side fills. Lighting included Elation Opti Tri Par LED washes, Martin Mac 2000 washes, Vari-Lite VL and VLX Series moving heads, an ETC Sensor dimming system with a Jands Vista T2 console.
An LMG brand 18.75-mm LED screen provided the backdrop with multi-media content supplied through a Catalyst media server from High End Systems, a division of Barco.
Both engineers were benefitted from the layout and functionality of the front-of-house board, a Midas Pro6 live audio mixing console that offers an independent Area B, designed for two-person operation. Combined with the desk's snapshot automation, the Pro6 is designed for making quick, seamless transitions between acts. “It was a two-stage show, and for that we needed Area B,” explains Jacques.
An Avid (formerly Digidesign) Venue Profile digital audio console was used for monitors.
“We used the automation to change setup between bands, with a different scene for each act,” Lampa adds. “I also use automation cues to recall effects settings - very convenient.” In discussed his first tour with the Midas Pro6, Lampa adds, “It took me about a day of mixing at rehearsals to get acclimated, just to feel comfortable that I could find everything, understand the patching, that kind of thing. After that, it was off to the races.”
The real test of the Pro6 was how it measured up in sound quality. Ryan Lampa says that Midas Digital “absolutely measured up to my expectations. I loved the dynamics and warmth of the console, and the way you can really push the preamps aggressively.”
Dave Jacques agrees. “I knew it was a great-sounding console, but using it with the same bands in venues I've played before, I was seriously impressed,” he states. “I had really high expectations from working with Midas analog all these years, but I have nothing but great things to say about the Pro6. The EQ just sounds awesome, and I always found something I liked in the onboard dynamics. I found that I didn't have to work hard to make things sound good. It sounded every bit as big and warm as I could have imagined.”
