MUSIC: CHRIS MADDEN ON VENUE


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turn up with my memory stick, load my show file, load my plug-ins and I’ve got the exact same show wherever I am in the world on any console. I don’t have to worry about whether the knobs on the front of whatever equipment I get are going to be crunchy, or whether they’re going to work at all, or whether the cabling between the console and the desk works consistently – I now don’t have to worry about any or all of those things.” Sometimes you turn up somewhere and there’s a whole bunch of gear held together with telephone cable, and you think: ‘Umm, that’s not going to work’, but I don’t have any of that now. The VENUE console turns on, my show is loaded and it’s exactly the same, all of the effects, everything. So that consistency is great.” Another big factor that helps Chris manage his front of house duties is VENUE’s integration with Pro Tools. “When you’re doing the sorts of tours that I do, like with Pink, I’m at 90 or so inputs. When you needed to make a template for that to record it and name all the tracks and patch it all used to take ages. And then of course the moment you had done it someone would turn up and change the input list, and then you would have to redo it all, and then you would have to change it on your console! But now all


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NICK GRIFFITHS Senior editor EVOLUTIONS


The secret of seamless, file-based workflows is keeping it simple – particular on a huge series such as BBC1’s The Apprentice.


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THE BENEFITS OF AVID VENUE FOR MADDEN


• VENUE helps transfer the same quality recorded in the studio to the live arena


• The VENUE system can be tailored to all sorts of events and unpredictable situations


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of that has gone and with the extra Pro Tools integration it is easy. That’s a great thing. The console itself seems to be smoother and the overall speed – well it seems to just run much smoother!” Finally Chris recalls when last year, VENUE helped out with one of his most high profile outings: “As a one-off I did the Prince’s Trust at the Royal Albert Hall,” he explains. “Me and Dave Dixon looked after front of house duties. I was looking after the drums mainly and Queen were there, so I got to make Roger Taylor’s drums louder, which was nice! And Phil Collins was there and he played – which he is not doing very much these days – so I got to make his drums louder too, so that was nice. I got to work with those two drummers and all just in one night.”


“It was a bit of a mad one,” he continues, “that’s why there were two of us doing it as there was so much going on. Jamie Cullum was there, Tom Jones, Jools Holland, Alison Moyet, and Mark King was in the house band; just tonnes and tonnes of people. And they had three or four drum kits set up. That was a VENUE session and the system can handle big set ups like that with ease. We were flinging it about.”


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“If I ever have a problem, which really doesn’t happen very often, the support from Avid is fantastic. And when you are in the back end of nowhere, that is very important”


CHRIS MADDEN Front of house engineer


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