Meyer Sound Interview with Lecco Possollo, FOH Mixer for Milton Nascimento and Gilberto Gil At the 35th Montreux Jazz Festival
Interviewed by SIM Engineer/Crew Chief Stravinski Dave Dennison.
DD: Is this your first time working on a Meyer Sound system?
LP: With the Meyer M3D, it was the first time.
DD: But you've used MSL-4s, MSL-6s?
LP: Yes, yes.
DD: There are a lot of them [Meyer Sound loudspeakers] down in Brazil and South America. They're very popular down there.
LP: Yes, there's a lot of Meyer Sound [loudspeakers] down there. Basically down in São Paulo, there are four companies down there. There's one, Loudness, who has all of the Meyer systems. They were here [Montreux Jazz Festival] in '97.
DD: Yes, that's right. I remember them.
LP: They have the new systems now [M3D line array loudspeakers]
DD: They have the M3Ds now, really? So how did they work for you tonight, as far as the response in the room?
LP: I loved it! The first thing was I saw the paper there [mix position] 'Keep it under 100 dB.' We had two drum kits, two percussionists and two singers. I know that the audience wants to dance, wants to sing together. They want to hear a lot of percussion. So I said, '100 dB? I don't know.' But I was very comfortable there.
DD: Yeah, you don't need to be loud. But I noticed for a lot of bands it's like that. A lot of engineers come in and sweat that very thing, 100 dB. But then again, it's plenty loud.
LP: Yeah, when it sounds warm and when you have the same sound all over the Hall, it's great. You don't have to push very much. You can have the punch without the volume. It's great.
DD: That's a nice thing. While you were mixing I was walking around. I went up into the balcony and the balcony sounded almost identical to the front-of-house position.
LP: Yeah! I was walking around the Hall during the sound check and it was amazing. I was walking from the house [FOH] to the stage and I was saying, 'Wow! The sound is the same.' It was wonderful.
DD: Where do you go from here?
LP: Tomorrow we're going to Italy.
DD: Another festival?
DD: Excellent. This Festival is very interesting. We have a German stage manager and production manager. We've got the Americans that bring the front-of-house system in, all the monitors and sound system. Then we have the Swiss crew that does all of the back line stuff. It's a very unique Festival.
LP: The Babel Tower.
DD: Right. Very nice.
LP: I really like it. I'm going to call Marcio from Loudness and say, 'Hey, we need to work together. I want to work with this system in Brazil.'
DD: I've noticed that it's a very plug and play system. For me, to get it up and going as the system engineer, it took me very little. It's very straightforward.
LP: Yeah, with this equipment here, with the cluster and the front fill, you can mix very easily. I was just doing some small adjustments. I pretty much knew that when they [Milton Nascimento and Gilberto Gil] are playing hard I need to push a little of the high-end to make it appear easier during the mix.
DD: A good presence. Well, thanks a lot. I'm glad you enjoyed it.
LP: I really like it. Thank you for all of your support here.