Having used a large-format digital console on Elton John’s monitors for the best part of 22 years, Alan Richardson now finds himself with RML Lab’s SAWStudio and Software Audio Console (SAC) software, controlled with a Mackie Universal Control Pro (MCU Pro) DAW control surface – and a live recording to take care of.

Previous tours had been captured in stems to an eight-channel Pro Tools rig at front-of-house, for EJ’s final tour, his production team wanted a full multitrack recording that captured all of the individual inputs. ‘We discussed buying a large Pro Tools rig, but that’s very expensive, and besides, my monitor mix position was big enough as it was, and I didn’t really want to have a whole other rig in that area,’ Richardson says.

‘About 35 years ago, I toured with Bob Lentini, who created SAW and SAC,’ recalls Richardson. ‘Lentini lives here in Las Vegas, and Elton John was playing a residency here, so I got in touch with Bob, and he showed me what could be done with the latest version of his software. His tracks sounded great, and using SAW would let us build our own multitrack recording rig for much less money, so I introduced Bob to our tour people and management, and we decided to go that route. We bought SAC software at the same time because I was intrigued about using it to mix monitors. SAC gives you 25 individual consoles, so everyone in the band gets their own console. That perked my ears up.’

While the software was a start, Richardson couldn’t manage with a mouse: ‘I needed a comfortable control surface with faders,’ he explains. ‘I tried several different controllers. The important thing was getting faders I felt comfortable with. The Mackie MCU Pro was the best, hands down-it wasn’t close. The MCU Pro has long throw faders that are really smooth. As a mixer, that’s my main concern. We got the MCU Pro and the MCU XT Pro 8-channel control surface extension, so I have 16 faders.’

When the MCU Pro and MCU XT Pro arrived, Richardson had Lentini write a template to integrate with SAWStudio and SAC. ‘With the template, the MCU Pro integrates right into the software system,’ observes Richardson. ‘It’s a fantastic controller. I use the presets, I use the knobs for various things, and I love the channel banks. I basically use it as a VCA mixer, with everything assigned in groups to the faders. I can hit a preset button, and the MCU Pro takes me right to the fader I want. If I have to get to an input, I can get there quickly, make my changes, and continue mixing.’

Richardson also makes good use of the MCU Pro’s recording transport functions: ‘I mix monitors and record with the same control interface, and it’s no extra work for me. I’ve been really impressed; the MCU Pro does everything I want it to do,’ he confirms.

The system’s flexibility and control also make it easy for Richardson to record in a venue on short notice: ‘On several occasions, I’ve gotten word that Elton needs to record this afternoon or tomorrow afternoon, and it’s no problem,’ he states. ‘It’s comfortable for Elton because he’s not going to some studio that he’s unfamiliar with. He can do his session, and when he’s done, he can go down to his dressing room and hang out until the show. He loves it. It’s really nice to have the ability to do all that.’

Thanks to his Mackie MCU Pro and RML SAWStudio/SAC rig, Richardson has been able to fit his system into spaces that would defeat conventional monitor mixing systems. ‘We did the Rock in Rio festival last year, as we have done before, and it was the first time I did it with this system,’ he says. ‘The stage manager apologised and told me we only had an 8x8ft space next to the stage for the monitor rig. He was sure it wasn’t going to work. I rolled in my rig, and the stage manager was in shock – I had four racks, my power distro, and my MCU Pro and MCU XT Pro. And I didn’t need four stage hands to set up a console. I get some crazy looks when I set up my rig but after people hear it and see it in use, they’re blown away.

‘For what I’m doing, the MCU Pro is the perfect device for me. I love it.’

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