Jamiroquai Experiments in Sound

Jamiroquai’s latest tour, which began in Spring 2017 with a run of festival appearances and a short stretch round Japan, hit Europe in earnest with a full production. From the out-set their FOH Engineer Rick Pope was using Yamaha’s new flagship mixing console, the PM10.

“We have looked after Rick and Jamiroquai for many years now,” said client manager Dave Compton at Britannia Row. “Both of our companies already carry a large inventory of Yamaha consoles so we were more than willing to make the investment to support this tour.”

For Clair Global, Pope’s experiences have proved a useful test-bed. Pope, who has mixed Jamiroquai for many years, explained: “I’ve been a Yamaha endorsee for maybe 25 years and have contributed to their R&D consistently over the years. A replacement for the venerable PM1D was long overdue, so I was relieved when the PM10 was first presented to me. Quite simply, it is fantastic. It’s the most powerful desk out there; it’s ridiculous what you can do with it. Yet in spite of its functional power it’s so easy to operate. Any engineer with basic knowledge could rock up to find the PM10 out front at a festival and have no trouble; I can think of some desks where you need to take a 3-month training course.”

Much is made of the contribution of Rupert Neve to the development and functionality of the desk; for Pope that’s a key aspect: “For me the pre-amps are way better than anything else out there. Since I’ve been using this desk I’ve never had so many people, musicians and mates who are engineers, come and tell me how good it sounds. The warmth in the low end – a characteristic you could say was lacking in older desks – is there now. The Silk processing is beautiful. It is expensive, but for what it costs its way better than anything else that’s out there. For Jamiroquai, everyone knows Jay Kay drives a Ferrari. He’s my boss and this is the Ferrari of desks. But consider this, I used to use a TC6000 off board, a Manley Vox Box and an H3000 – they’re expensive bits of kit. Not anymore. The on-board processing and effects are as good or better than anything else out there.”

The latest leg of the tour drew to a close in London early December, with dates for 2018 already at the planning stage. “Brit Row are supplying me with an L-Acoustic K1 system for this European leg,” Pope continued. “Working with them is like putting on your favourite pair of slippers, warm, familiar, comfortable. The K1 sounds great and with this combination of desk and system I can get great sound, even in the shit rooms. That’s what clients like, that’s why I’ll keep using Brit Row and why I’ll keep using Yamaha.”