Marisha Wallace
In a spectacular one-night-only event, acclaimed Broadway and West End star Marisha Wallace performed live at London’s historic Adelphi Theatre. Known for her powerhouse vocals and magnetic stage presence, Marisha delivered an emotionally rich performance accompanied by a large live band, all captured for a future live album release.
Venue
The Adelphi Theatre is a prominent 1,500-seat venue on the Strand, renowned for its history of musical theatre hits including Back to the Future, Kinky Boots, and Joseph and the Amazing Technicolor Dreamcoat. Its current technical infrastructure includes a state-of-the-art d&b KSL/V series sound system installed by Gareth Owen Sound for the Back to the Future production offering high fidelity audio for premium live productions.
The Challenges
Complex Instrumentation and Setup Time
- The show featured a large and diverse band including strings, horns, percussion, and multiple vocalists
- Limited setup and rehearsal time
- Managing a large number of open microphones introduced risks of noise and clutter in the mix
Simultaneous Mixing and Recording
The console on stage had to simultaneously handle IEM mixes for four vocalists and capture a multi-track recording for a live album
Personal Monitoring
Musicians were accustomed to other personal monitoring systems, so integrating a new 12-position Midas DP48 system required careful setup and prep to ensure their ease of use
The Challenges
Communication and Coordination
- Multiple shout groups were needed for efficient communication between FOH, stage crew, band, and MD
- Effective comms were essential to manage the complex logistics of the show
Despite these challenges, the Midas system proved highly effective, offering flexible routing, control, and processing power that helped the engineers deliver high-quality mixes under tight conditions.
Audio System Configuration
Front of House
- Console: Midas HD96-24
- Recording: Backup multi-track via KT-USB card
- Routing: HyperMAC copper from DN9680 stage units
- Output: AES3 to in-house d&b system
The HD96-24 was the console of choice for FOH. This was also used to capture a backup multi-track recording via a KT-USB card installed in the expansion slot. A redundant pair of HyperMAC copper lines from the DN9680 on stage were connected to the console, and local AES3 fed the main LR and sub connections to the in-house d&b KSL/V series system.
Audio System Configuration
Vocalist Monitors and Primary Recording
The console at stage end was an HD Air. This was used for mixing IEMs for Marisha and three background vocalists, as well as capturing the main multi-track recording of the show for an upcoming live album. The primary recording (Record 2) was captured into Reaper via Cobalt, along with a second backup via KT-USB in the Air’s remaining expansion slot.
Console: Midas HD Air IEMs: Four vocalists (Marisha + 3 BVs) Recording:
- Primary: Reaper via Cobalt
- Backup: KT-USB card in HD Air
Stage I/O Setup
- 2 x DL231 (FOH: Port A, Mons: Port B)
- 2 x DN9680 (FOH & Mons)
- 1 x AS80 (FOH)
- 3 x HUB4 units for DP48 monitoring
The Setup
Band Monitoring Sytem
The band, made up of session players from a theatre background, were used to mixing their own monitors on personal monitor mixers by Aviom, Roland, and Allen and Heath so the requirement was to provide a system similar.
Opting for a 12-position system of Midas DP48 personal mixers with audio and power over Ethernet being provided by 3 HUB4 units meant a single industry standard RJ45 CAT5e cable to each mixer was all that was required, and no extra stage power points had to be installed to accommodate the mixers. HUB4 audio was routed out of a KT-AES50 card installed in the expansion slots of the HD-Air allowing us to sample rate convert down to 48k, giving 48 channels into the personal monitoring system. Audio for the second and third HUB4 units were received from the AES50 through port of the previous unit.
Band Monitoring Sytem
Because the DP48 unit would be new to the musicians, the system was set up taking advantage of the remote-control capability that the HUB4 and DP48 system provides. Each unit had the remote option switched on and we had the master unit on port 1 in the wings. That allowed the engineers to broadcast settings to all units to get the groups and initial setup done for everyone and for them to take individual control of each unit to make any specific changes on request.
- 12-position Midas DP48 system
- Powered and networked via HUB4 (audio + PoE via industry standard RJ45 CAT5e)
- Audio distributed via KT-AES50 with downsampled 48 kHz for DP48
- Remote setup and control enabled across all DP48 units for seamless onboarding
Engineering Team
- FOH Engineer: Sam Woods
- Vocal Monitors and Recording: Joe Turner
- Band Monitors: Max Marriott
- Recording Engineer: Ethan Smith
Engineering Feedback
HD was naturally the perfect choice of console for this show. In these types of situations where it is necessary to handle a large and diverse array of instruments with limited setup time – it’s powerful, intuitive processing tools are second to none.
In a live performance setting where time is often tight, especially during rehearsals, the ability to quickly adjust levels, EQ, dynamics, and effects is essential. The touchscreen interface and streamlined workflow with features like Manchino were invaluable towards quickly building the mix and achieving great results from the start of rehearsals. The band contained strings, horns, percussion, and multiple vocals. PIE was a standout effect for this. It automatically reduces the level of an input when the microphone is not receiving a chosen level of signal. Incredibly useful tool when mixing live performances with a lot of microphones. I used PIE a lot to build this mix. Other notable effects used were VSS4 for vocals, Stressor for parallel processing on drums, KT Bus Compressor for group processing, and MD4 on the master bus, to name a few. The HD supported me hugely in creating a mix which was energetic, dynamic, and of course free of any unwanted noise. Crucial for a high-energy, complex live performance like this one. It was a joy, and one of the highlights of my career.
- Sam Woods, Front of the House
Engineering Feedback
For this show, I was responsible for managing the monitor mix for Marisha Wallace and her three backing vocalists using the Midas HD Air. Regardless of its smaller format, the console proved itself to be incredibly stable and intuitive.
On the processing side, I relied heavily on multiband compression to maintain vocal presence and energy without introducing harshness, which is always a balance in a live vocal-heavy show like this. This was an easy task thanks to the HD’s dynamics pool.
PIE also helped tighten the monitor mixes by intelligently reducing unused mic signals without compromising clarity. It’s one of those tools that works in the background but has a huge impact on overall definition.
The monitor mix was sent to IEMs from the HD Air, with recording handled simultaneously. This setup allowed us to capture multiple clean recordings for Marisha’s live album, while also maintaining a robust monitoring system.
The Midas system gave me the flexibility and control I needed to deliver clean, confident mixes to the artists with minimal stress. The combination of powerful onboard tools, stable operation, and a well-designed personal monitoring setup helped ensure everyone on stage had what they needed to perform at their best. Nothing sounds quite like a Midas. When the artist and management come off stage thanking you profusely, you know the gear speaks for itself.
Joe Turner, Vocal Monitors and Recording
The Conclusion
The Marisha Wallace Live at the Adelphi Theatre concert demonstrated the power and versatility of the Midas ecosystem under complex conditions. From seamless integration of personal monitoring to high-end FOH processing and multitrack recording, the system delivered clarity, control, and performance. A technically demanding show was elevated by the intuitive tools and solid architecture of the Midas and Klark Teknik audio chain.
Music Tribe Products Used
Midas HD96
The centrepiece of the upgrade, this digital mixing system boasts 144 input channels and 120 mix buses at a 96 kHz sample rate. Known for its legendary preamps, the HD96 offers innovative features for easy setup and powerful routing, contributing to a seamless experience for both in-house and visiting sound engineers.
Midas Cobalt
HyperMac to USB3 Converter with up to 192 Bidirectional Channels and Sample Rate Conversion
DL231
With today’s tech-savvy concertgoers demanding more and more from the professional sound engineer, the need to increase flexibility and functionality has never been greater. That’s why the Midas Research and Development team have expanded upon the existing Microphone Splitter format to bring you the DL231...
DN9680
The Klark Teknik DN9680 is a digital network bridge designed for use alongside all Midas PRO setups, Its primary function is to convert audio signals between different digital formats and transport them over a network...
DP48
Dual 48-Channel Personal Monitor Mixer with SD Card Recorder, Stereo Ambience Microphone and Remote Powering