Beady Eye – a new group comprising four-fifths of the last Oasis line-up – is touring with a dual Midas PRO6 system at FOH and monitors, provided by Britannia Row Productions.
Midas systems have long been deployed on Oasis tours. FOH engineer Dan Lewis mixed the last few months of the band’s final road trek on an XL4, and along with Josh Lloyd (pictured, left, with Lewis) on monitors, opted to specify a pair of PRO6s for this tour.
Lewis had previously used an XL8 for Noel Gallagher’s Teenage Cancer Trust performance. “This was the perfect opportunity to give the PRO6 a try,” he said. “I’ve deliberately gone for a very simple set-up as they’re not a complicated band, I’m only running 28 channels so it all fits in with ease. In the first week I managed to find a good formula which works for them. There’s very little going on in the way of channel EQ, it’s all been about correct mic placement and the right desk. Now I can’t tell the difference between a well set-up XL4 and the PRO6 – both have that warm analogue sound that helps smooth over some of the more nasty bits. It’s a sound that you want for a rock band.
“The POPulation Groups are great, bringing everything to you. As far as the onboard processing goes, I’m using a few high pass filters, some EQ on vocal channels, a couple of onboard reverbs and delays and delays for some spot FX on Liam’s vocals, but they don’t want a huge reverb-y sound, it’s all quite dry, as suits the mood they’re after.
“The band have been playing really really well, they’re a proper rock and roll band, and as far as audio quality through the PRO6 is concerned, it all sounds really good.”
At monitors, Lloyd is also using a Midas PRO6, sharing a DL431 mic splitter with Lewis at FOH.
“I chose the desk because I know the PRO6 pretty much inside out,” said Lloyd. “It’s a quick surface to get around compared to others, and things like the POPulation Groups are a big help.
“I don’t have a massive input channel count, but quite a lot of things are split for different people, and I’m using aux sends to send individual mixes, and VCAs to access things easily. I’m using lots of the onboard effects: the compressor on some of the vocals, plus some delays and some drum and guitar reverbs. I’m also using the onboard multiband compressors because Liam’s got quite a lot of sibilance on his voice so it’s the easiest way to deal with it.”