DiGiCo desks shine on Mike Shinoda tour
Tuesday, 11 December 2018
digicoFOH engineer Mike Fanuele mixing Mike Shinoda on a DiGiCo SD10
USA - One thing that pretty much any experienced touring mix engineer can agree on is that you always pad your input/output number request to a certain degree because rare is the tour where those needs will not increase as the tour progresses. So it might seem odd that when the current Post Traumaticsolo tour by Linkin Park’s Mike Shinoda got started, mix engineers Mike Fanuele and Kevin ‘Tater’ McCarthy were sharing a single DiGiCo SD12 mix surface.
After that first show, the SD12 was shipped off for the tour’s Asian and European legs, and McCarthy, who has been associated with Shinoda for more than a decade, spec’d a pair of DiGiCo's ultra-portable SD11i desks for the promo tour that preceded the Asian dates. He says he’s fielded more than one question about why he made that choice.
“A lot of people have asked me why I choose the SD11i,” he reports. “Originally, it was just Mike Shinoda and no other band members. The band and additional crew where added after all of the gear had shipped to Hong Kong for the Asian and European tours. After a few shows, I was comfortable with the all the new inputs and with the 12-fader format, so I decided to keep it. It never came off that table rack. I just popped the lid every day and was ready to go.”
Fanuele is on his first outing with Shinoda after working with a wide variety of artists ranging from Meghan Trainor and Fifth Harmony to The Chainsmokers and Garbage. “Mike began this tour cycle on stage by himself playing keys, synth, drum pads, and triggering samples from a Maschine. For the first show, he actually performed on a satellite stage near FOH, where Tater and I both mixed off of the same SD12 console.
“I took the left side of the desk and fed my mix into an LM44 and then out to the PA, and Tater took the right side of the console, where he mixed Mike's IEMs. It was a unique experience, but the flexibility of the surface proved perfect for the task, and we were both able to manipulate the workflow to match our needs off of one console.”
Fanuele concludes, “Overall, I think the flexibility of the surface and the sonic detail of the pre’s and outs made DiGiCo’s SD-Range the obvious choice for the tour.”

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