Adlib's Andy Dockerty ordered the 24-channel desk immediately. He knew its high spec and expedient sized footprint were ideal for medium-sized tours such as this one. The console is very dynamic, serving equally well for mixing monitors as FOH, in addition to being keenly priced. The MH3 has many neat features you would expect to find on a more expensive piece of kit, including an extra 4 stereo channels, which can be utilized for stereo keyboards, mini disc players, etc, offering an extra set of line inputs.
Cole says it's been excellent so far: "The EQ sounds good and the gain section is equal to the (Soundcraft) Series 5 if not better," he enthuses. The RFM show has complex vocal harmonies at its' core. Cole explains: "The sound is about re-creating that smooth, sensuous, chocolatey feel of the Rumours album," therefore a good quality desk is essential. Adlib is supplying all sound equipment for the band, also based in Liverpool, which they have serviced for the last three years. The rig is one of their own FD systems, configured as 10 full-range FD2 cabinets and six subs. The system has been designed with size, weight and efficiency being key issues.
With the front-of-house crossovers contained in the amp racks, Cole needs just one case of effects, EQs and a CD player, so the whole FOH set up is neat, manageable and unobtrusive. During the show, Cole is kept busy, mixing in 'hands-on' style, highlighting the band's many key solos and harmonies, and the MH3's eight VCAs are a great asset here too. The EQ section yields a 4-band parametric and the high and low mids have a variable cue too: "A nice feature on a desk this size," Cole comments, as is the sweepable high pass filter. "Overall it's a great desk and I'll definitely be using it in the future," he states.
RFM's monitors are mixed by Adlib's James Coates using a Soundcraft SM20. The wedges are another Adlib customized design, passive to keep the amplifier count-down and the overall tonnage of equipment low and manageable.
(Lee Baldock)
