Monitor engineer, “Amici”
PM1D
“I handled the monitors for the band and the contestants, using all the desk’s 48 feeds. (...) Since they weren’t professionals, the boys and girls often needed changes in the ‘balance’ of what they listened to - something to keep them on track. When dancers sang, they obviously had a good sense of rhythm, but sometimes had trouble keeping on-key, so I tried to help, letting them hear what they were able to follow best. (...) The PM1D was an enormous help for this work, thanks to its great selectivity, ensured with the automated recall of the various functions of each channel, offering exactly what’s needed for each channel – for example, changing a channel’s ‘pre’ or ‘post’ feed, because in a certain song I had to emphasize a particular instrument for the singer, didn’t influence any of the others at all. The Recall Safe feature and its enormous memory capacity are really priceless facilities.”
Mixing engineer, “Amici”
PM1D
“I’ve been using the P1MD since 2000 - I find it decidedly reliable and definitely one of the most flexible consoles to be found.”
Monitor engineer, “Amici”
PM5000
“The desk seemed very reliable and a function that greatly facilitated our work was its automation – the possibility of recalling scenes – which I exploited a lot, as there were considerable differences between the songs and, especially on the last evening, there were a lot of songs, so we created numerous scenes and this option was extremely useful.”
Sound Designer, Holiday on Ice
PM5D
"The PM5D is perfect for this show, it takes all inputs from the Tascam and replay machines, actors, announcers with ample inputs and mix outputs to spare for the many cases when we have a guest performance or have to set up additional output locations. Most importantly: it's a Yamaha PM class console, which means that it has both the audio quality and the reliability level we need for these kind of international touring productions".
Monitor engineer, New Music Awards Tour
M7CL
"I had a few minutes run through at LMC in Birmingham who provided the M7CL, went back to the warehouse and took just 30 minutes to set it up for the tour. It was a case of click bang, job done. We had a guest monitor engineer at each of the shows and he was up and running in just 10 minutes. There's a couple of things I'd like to see changed and I'm hoping the guys in Japan will include them in the future but on the whole, I've found the desk very straight forward to use. Being able to store each band's mix on a show like this has proved very useful with so little time to swap over in the middle."
