Acceptable places to use an M7CL

[Matt Riley]

80:20 boys, 80:20. I'd personally chuck the M7 in and then let the promoter pay the extra for hiring in, and knowing the kind of promoters we get through our place (Southampton SU), then you'll probably find that they'll happily take the cost of a Midas plus some hassle money out of the band's cut! Having said that, I reckon having an M7 at each end of the multi will make things much easier in terms of training up tech crew and ridding you of your midas related hassles! I'd also agree that I don't see anywhere near enough engineers at the kind of 800-1000 ppl level which I operate that know the venue well enough.

 

In answer to the original question about the GDOP gig which Mark did, I think I recall that there were two M7s because there were two FOH engineers, one mixing the orchestra and one mixing the band/speakers etc.

[i_hate_fisicks]

I would keep the XL3 (after an appropriate service). We recently debated an M7, and decided on an XL3 instead for this kind of work. Most engineers are impressed with it, and much happier than they would have been with an M7. It's seen as a more proper desk, and it sounds like one too.

[soundeng]

The M7 is about as user friendly as it gets for digital, we run Midas and the M7 and until recently Soundcraft as well. We take them into venues from theatre shows to student shows and battle of the bands. The unit is bullet proof but beware of engineers bringing their own memory pens, if the system crashes after they put it in remove it and restart they're not keen on corrupt data...odd that!

I was new to the M7 and had to do a drum workshop with multiple kits and backline, found it easy once I'd sussed where everything was.

 

Its the future and those that can't use them are going to struggle!

[RGSD]

I would be horrified to find a M7 at the FOH if there is a Midas as Monitors, Surely it's not about just buying a new desk when there is a perfectly great analogue available! Spend the money you would waste on the M7 and fix the Midas. Then do as one of the previous posters wrote and hire a second desk when required!

[Mark Payne]

Hi Matt

 

Ha well, on this event I mixed the orchestra and the bands... At the same time.

to be honest I fanced doing it all as lately I have being doing so much systems design I wanted to do all of it!

 

I can be all over a pair of m7cl with my eyes closed and speed and familiarity were the key , this was 90 channel crash mix of sorts. I could have used a pair of pm5d but I chose m7cl.

 

Not sure how this helps the op but I liked the 80:20 post. This is a rule we always apply at sfl.

 

I have used venue and would not want to crash mix on one. This may be me just needing to get " on it"

 

Watch out for some new digital developments at our place. Got some new stuff going on!

 

Peace

 

Mark

 

 

 

80:20 boys, 80:20. I'd personally chuck the M7 in and then let the promoter pay the extra for hiring in, and knowing the kind of promoters we get through our place (Southampton SU), then you'll probably find that they'll happily take the cost of a Midas plus some hassle money out of the band's cut! Having said that, I reckon having an M7 at each end of the multi will make things much easier in terms of training up tech crew and ridding you of your midas related hassles! I'd also agree that I don't see anywhere near enough engineers at the kind of 800-1000 ppl level which I operate that know the venue well enough.

 

In answer to the original question about the GDOP gig which Mark did, I think I recall that there were two M7s because there were two FOH engineers, one mixing the orchestra and one mixing the band/speakers etc.