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Midas XL8 Mix For NYC’s “Concerts In The Parks” Series

United States
English
17 August 2007 — The Midas XL8 performed in the prestigious company of the New York Philharmonic this summer, as FOH mixing console for the 43rd consecutive Concerts in the Parks series, which brings free of charge world-class classical music performances to parks across New York City’s five boroughs. The XL8 was supplied by Sound Associates, Inc., who are having particular success with the new digital Midas in their theatrical show sound designs, including the hit Sister Act.

Lawrence Rock and the NY Philharmonic in Prospect Park, Brooklyn (Photo by Wallace Flores)

Sound Associates Domonic Sack—one of the sound designers for Sister Act and system designer for the Concerts in the Park—was instrumental in introducing the XL8 to PJ Volpe and Rob Gorton, both sound engineers for the Metropolitan Opera and support engineers for the Concerts in the Parks tour. The list of distinguished FOH engineers who mixed with XL8 on the tour included Lawrence Rock of the New York Philharmonic. Wallace Flores of Sound Associates was charged with making Volpe and Gortons’ work with the system as smooth as possible, helping with the setup and overseeing hookup and implementation for the park shows.

“I was on hand to show PJ and Rob around the XL8, how everything works and to answer their questions,” says Flores. “They picked it up very quickly when they demo’d the system with the Met prior to the parks shows, so the same package went out with the Philharmonic with their full confidence.”

PJ Volpe and the Met Opera in Central Park (Photo by Wallace Flores)

“The console did everything they hoped it would do and more,” Flores adds. “And, for such a sophisticated system, it’s really simple to use. PJ and Rob come from the analog world and are also familiar with the prior generation of digital consoles. The difference between what you can do on the XL8 and what you can do on one of the older digital desks is incredible—the XL8 is really in its own brand new category as a sound production tool. It’s so intuitive: an engineer can walk up to the XL8 and be comfortable on it in five minutes, because the layout has that analog feel—and analog sound quality to match. XL8 offers a great combination of hands-on mixing and digital flexibility. You can saturate the mic pre, take a few dB off the top with the digital trim so you know you’re not going to clip, and continue with full signal, all with that warm Midas sound. The list of great features goes on; the possibilities really are endless with XL8.”
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