For all their technological features, there are some applications where using a digital console in a very straightforward manner is most appropriate. Mixing monitors for Elton John is one, as the Rocket Man’s monitor engineer Alan Richardson confirms.
Now in his 12th year as Elton John’s monitor engineer, Alan Richardson has spent a number of those with a Yamaha PM1D as his mixing console of choice. Whether it be a stripped-down performance or a full-on, multiple special guest extravaganza, the PM1D is Alan’s no fuss answer to ensuring everyone on stage can hear exactly what they need to.
Summer 2007 saw the flamboyant pianist playing selected dates across Europe and the UK, with Alan Richardson reporting that the PM1D is key to the task.
“I really like the versatility of the console,” he says from Glasgow’s SECC. “It has loads of ins and outs, a lot of features and the recall is essential. I means I don’t have to tour with the desk - I just pick one up in whatever country we’re in, insert my card and there are all my settings! Plus it’s very easy to use.”
The venues on the European tour have been wide ranging, which has kept the sound team on its toes. “One day recently we were playing in a tent, then a few days later to 150,000 people in a square in St Petersburg,” Alan continues. “We’ve played bullrings, private shows - there has been a lot of variety.”
But the PM1D has helped Alan to ensure that the changing acoustics of the venues don’t cause him or those on stage any problems. And his secret is to keep things simple.
“For this tour I’ve got the desk set up with 46 inputs, 24 outputs and 5 stereo returns,” he says. “Elton has two sets of wedges, one for his vocals and the other for a whole band mix. Nigel Olson (drums) has headphones and does his own monitor mix, while the rest of the guys (Bob Birch - bass, Guy Babylon - keyboards, Jon Mahone - percussion and Davie Johnson - guitars) are on in-ears, so I do a mix for each of them.”
As well as not having to tour with a console, costs are further kept down by Alan choosing to use only the PM1D’s onboard effects for the gates on drums, compressors on vocals, etc.
“I use no outboard whatsoever,” he says. “I don’t need to. I’m one of the most straightforward mixers you’ll meet, which is helped by being blessed with a band that’s really easy to deal with. I rarely have to change mixes for them, plus I know at the beginning of each song what the levels and dynamics will be, how hard Nigel will hit the drums, etc.”
He continues: “When I first started using the PM1D, I thought of doing different scenes for each song. But I’m old school, my maxim is ‘less is more’. I do scenes for each song when there are lots of guests on a show, but otherwise I simply mix on the faders. The band and Elton are all the same - they’re not fussy. As long as they can hear themselves, they’re fine.
“Out front, Clive (Franks - FoH engineer) highlights all the nuances, but on stage we just go for it,” Alan laughs.
Interestingly, he says that his biggest challenge is the amount of volume that the main man likes his monitors to push out.
“Elton likes it loud in the wedges,” says Alan. “Apparently they tried in-ears several years ago, before my time. But he said that, although they sounded great, it isn’t rock’n’roll. He’s an old school rock’n’roll guy who likes to feel the legs of his trousers flapping!”
It’s this requirement that highlights another of the PM1D’s virtues and which makes it so suitable for Alan’s use. “I like the audio quality, it produces what I need - punch,” he says. “Of course I go for the quality as much as I can, but that’s not my priority. It’s the punch which that ‘Yamaha sound’ really helps me out with.
“It’s something that other digital consoles don’t deliver, plus overall the Yamaha is the better desk and it’s also more reliable. I’ve never had any problems whatsoever in terms of reliability. I’m a total advocate of it.”
