Montreal, Canada (May 1, 2026)—Darrell Thorp, 10-time Grammy-winning producer, mixer and engineer, recently used Focal Trio6 ST6 monitors to mix Pink Floyd-related live projects by Roger Waters.
Thorp recollects getting the call from his friend and top FOH and mix engineer Sean “Sully” Sullivan to mix the live recording of Roger Waters’ version of the epic Pink Floyd masterpiece Dark Side of the Moon. “Roger did a couple of live dates at the London Palladium; they recorded it all. Sully was asked to mix the album, and he told Roger he wanted me involved for the mix.”
Sullivan was at the sessions to guide the mix for what became Dark Side of the Moon Redux. “I mixed the live album on the Trio6 ST6 at EastWest Studios. As Sully had planned, he basically just sat in the back and told me to ‘Turn this up!’ and ‘Turn that down!’” says Thorp with a chuckle.
Explaining his experience working with the Trio6, Thorp says, “Introducing the Trio6s into my workflow I have been enjoying hearing and feeling that extended low end that I haven’t been used to for a long time with my other set of monitors. And I’m always enjoying the top end, the air that comes from the Trio6s. That’s just a nice crispy, beautiful image; I really rely on that a lot. Whenever I work at EastWest, which is often, I choose the pair of Trio6 ST6s. They’re freaking rad. I love working on them, whether it’s tracking or mixing.”
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Describing how the quality of the monitor helps with tracking a band, Thorp offers, “I think a big shortcoming of a lot of people when they’re recording is their monitoring situation is not up to snuff. And that can be a combination of their speakers and/or the room that they’re working in.”
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Thorp notes that the top control rooms he works in all sound fantastic—United, Capitol, EastWest—it’s the monitors that make the difference there. “So with speaker choice, I’m able to make sonic decisions quickly, whether or not it’s too dark, it’s too bright, it’s too small, it’s too big.”