ON THE ROAD: Leona Lewis Below L-R: Sound engineer Kevin Pruce at his Venue Profile; Tom Levitt & Oisin Murray; Stu Merser & Nick Fry in video world.
to the power of her voice.” An early convert to DiGiCo’s SD Series,
Carr chose to use the SD8 for the Labyrinth tour, saying he liked the improvements on the dynamics and the fact that the pre-amp reacts to how you drive it; something he has missed in the digital realm. Carr had six d&b M4 wedges to cover the
dancers and everyone else was on a stereo IEM mix. Each band member had a local d&b Q sub, the drummer had a pair of buttkicker thumpers and there were also some d&b J subs under the stage covering the downstage area. In terms of in-ear monitoring, there were
Sennheiser 12 G2 IEMs across two frequency bands, with Shure hardwired packs as back up. “I switched Leona from Ultimate Ears UE10s to UE11s and I’m very happy with the results,” said the monitor mixer. Lewis used a Sennheiser 5200 body mic and
a 5235 capsule. “Leona has done a lot of shows to backing tracks so getting her comfortable with the live band was the first hurdle,” said Carr. “I work on a stereo mix of the band for each song trying to get it as close to the way she’s used to hearing it. “I’m very happing with the results we’ve got
on this tour, big thanks to Katie and the team at Wigwam, Phil and Mark at Sennheiser, and the boys on the road — Stefano, Phil and Pete — have made it super easy for us. He continued: “Jumping into arenas for
your first tour isn’t easy so we’ve had to work together to get her used to the environment. She’s very receptive to my input.” Lewis’ static performances on The X
Factor were worlds apart from the highly choreographed dance moves that she pulled off on her Labyrinth tour, yet she still lacked the energy and dynamism of her peers; perhaps something she will find in herself over time. However, with so much to see on stage, and
so many differing scenes, the production carried her through. TPi
Photography by Jessica Gilbert & Rachel Esson
TPi JULY 2010 • 49
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88