New York, NY (May 4, 2016)—Mariah Carey recently toured Europe for the first time in 13 years, packing arenas along the 22-city route. Ensuring that audiences could hear every long-awaited note, FOH engineer Lorin White, Jr. mixed the shows on a DiGiCo SD7 digital console with Waves plug-ins, feeding a sizable Meyer Sound LEO linear PA provided by UK-based Major Tom, Ltd.
“The LEO system is superb for handling Mariah’s voice, particularly when I’m tracking her extended high notes,” said White, whose mixing credits include Roberta Flack, Jon Secada, Hilary Duff, Melissa Manchester, and Machine Head. “She always gets a strong crowd reaction when she hits those extreme highs—like on ‘Emotions’—so I always try to give her a push over the top. With LEO, the highs come out just as clear, and without hurting your ears.” Carey’s vocal microphone was a custom, gold Shure UHF-R wireless with a Beta 58A capsule.
“All the nuances are right there,” said White. “I never feel like I’m working around troublesome frequency bands when I push it up from 85 to 96 dBA or more. The sound stays the same, with no changes.” Assisting White at FOH on tour were systems engineer David “Digga” Vinnicombe and stage techs Kyle Carter and Ian Hamilton. Simon Kemp was monitor engineer.
The system was typically deployed with twin main hangs of 12 LEO-M over four Lyon linear line array loudspeakers, with dual flown arrays of five-each 1100-LFC elements in a spaced cardioid configuration. The system also comprised 12 LEO-M and two Lyon loudspeakers for out fill, 12 additional 1100-LFC elements, 10 UPA-1P loudspeakers for front fill, and a Galileo Callisto loudspeaker management system with one Galileo Callisto 616 AES and six Galileo Callisto 616 array processors. Onstage foldback comprised eight MJF-212A stage monitors, one Leopard line array loudspeaker over one 900-LFC low-frequency control element per side for side fill, and two 500-HP subwoofers for the keyboardists.