P!nk

Used on the Beautiful Trauma Tour, as mentioned in this May 2018 Front of House Magazine article.

Pink sings through the Sennheiser 9235 capsule when she has a handheld, and otherwise uses the Sennheiser HSP 4 headset mic. (There are times when she seems to be using both, but that’s only because her action-packed show doesn’t allow her to take her headset mic on and off).

Used on the Beautiful Trauma Tour, as mentioned in this May 2018 Front of House Magazine article.

Pink sings through the Sennheiser 9235 capsule when she has a handheld, and otherwise uses the Sennheiser HSP 4 headset mic. (There are times when she seems to be using both, but that’s only because her action-packed show doesn’t allow her to take her headset mic on and off).

Used on the Beautiful Trauma Tour, as mentioned in this May 2018 Front of House Magazine article.

All IEMs are Sennheiser SR 2000 with all RF mics running on the Sennheiser Digital 6000 wireless system. Sennheiser MD 9235 heads are on the SKM 6000 handhelds. “We are really happy with all of this, both from an audio point of view and a RF coordination angle.”

But with Pink, he literally has to hit a moving target. “With so many performance spaces around the stage and the fact that she does so much acrobatics and flying, it’s important to keep a constant mix in whichever position she is,” Lewis says. “Consistency is key to helping any artist [stay on] pitch and keep time, and that’s challenging as so much of the show being in front of the P.A., either on the stage runways or above the audience.” All this makes getting the artist a consistent mix wherever she is the most important part of Lewis’ job every night. And there’s no set-it-and-forget-it — he says each song is different, requiring highlighting different aspects of every song needed for timing and pitch.

Complicating matters a little further is the fact that Pink wears only one in-ear. But Lewis has some reinforcements. “The wedges used are a mix of Clair CM22s and L-Acoustic X15s,” he notes. “These give the big and powerful coverage needed to cover such a large space, and the fact that they are hidden under grills in the floor allow for the clean stage look that Pink and the designers want. I used the Clairs for AC/DC and fell in love with them. They have enough punch and power to do most jobs asked if them and still retain a clarity and poise of a modern stage monitor.”

Used on the Beautiful Trauma Tour, as mentioned in this May 2018 Front of House Magazine article.

All IEMs are Sennheiser SR 2000 with all RF mics running on the Sennheiser Digital 6000 wireless system. Sennheiser MD 9235 heads are on the SKM 6000 handhelds. “We are really happy with all of this, both from an audio point of view and a RF coordination angle.”

But with Pink, he literally has to hit a moving target. “With so many performance spaces around the stage and the fact that she does so much acrobatics and flying, it’s important to keep a constant mix in whichever position she is,” Lewis says. “Consistency is key to helping any artist [stay on] pitch and keep time, and that’s challenging as so much of the show being in front of the P.A., either on the stage runways or above the audience.” All this makes getting the artist a consistent mix wherever she is the most important part of Lewis’ job every night. And there’s no set-it-and-forget-it — he says each song is different, requiring highlighting different aspects of every song needed for timing and pitch.

Complicating matters a little further is the fact that Pink wears only one in-ear. But Lewis has some reinforcements. “The wedges used are a mix of Clair CM22s and L-Acoustic X15s,” he notes. “These give the big and powerful coverage needed to cover such a large space, and the fact that they are hidden under grills in the floor allow for the clean stage look that Pink and the designers want. I used the Clairs for AC/DC and fell in love with them. They have enough punch and power to do most jobs asked if them and still retain a clarity and poise of a modern stage monitor.”

Used on the Beautiful Trauma Tour, as mentioned in this May 2018 Front of House Magazine article.

All IEMs are Sennheiser SR 2000 with all RF mics running on the Sennheiser Digital 6000 wireless system. Sennheiser MD 9235 heads are on the SKM 6000 handhelds. “We are really happy with all of this, both from an audio point of view and a RF coordination angle.”

But with Pink, he literally has to hit a moving target. “With so many performance spaces around the stage and the fact that she does so much acrobatics and flying, it’s important to keep a constant mix in whichever position she is,” Lewis says. “Consistency is key to helping any artist [stay on] pitch and keep time, and that’s challenging as so much of the show being in front of the P.A., either on the stage runways or above the audience.” All this makes getting the artist a consistent mix wherever she is the most important part of Lewis’ job every night. And there’s no set-it-and-forget-it — he says each song is different, requiring highlighting different aspects of every song needed for timing and pitch.

Complicating matters a little further is the fact that Pink wears only one in-ear. But Lewis has some reinforcements. “The wedges used are a mix of Clair CM22s and L-Acoustic X15s,” he notes. “These give the big and powerful coverage needed to cover such a large space, and the fact that they are hidden under grills in the floor allow for the clean stage look that Pink and the designers want. I used the Clairs for AC/DC and fell in love with them. They have enough punch and power to do most jobs asked if them and still retain a clarity and poise of a modern stage monitor.”