Global sensation and world-renowned soprano, Sarah Brightman, delighted millions of fans worldwide with her highly anticipated tour. The iconic Grammy Award-nominated artist embarked on a magical journey, which kicked off in the glitz and glamour of Las Vegas and saw her journey through Mexico and across Asia, dazzling audiences with her powerful vocals and spreading joy through the power of music. Brightman’s final performance marked a triumphant end to a whirlwind tour that left fans both enchanted and in awe.
The tour also marked a significant milestone for Lewe Redlin, Brightman’s Monitor Engineer of six years, as this was the first time he had used KLANG’s immersive in-ear monitor mixing solution, selecting a DMI-KLANG card-equipped DiGiCo Quantum 338 monitor console supplied by Capital Sound. Incorporating the KLANG system created ample space in the monitor mix and a more manageable audio environment onstage, resulting in a much more enjoyable and natural sound.
As a seasoned touring engineer with over two decades of experience in the industry, Redlin rolled out KLANG for the Musical Director on the tour, Ollie Cunningham, as well as Brightman’s band, guest singer Jay Dref, and for Redlin’s tech and backline-tech.
“The complexity of this production, with its large number of inputs – around 90 in total – made for an extremely dense mix,” he explained. “To address this, I opted to incorporate KLANG’s immersive technology. Its ability to create new layers within the mix, beyond just left and right, allowed me to carve out more space for all the signals. The result was that I was able to lower the overall level of the mix for everyone involved to enjoy a more natural, balanced sound.”
Of all the positive feedback received on KLANG’s system, one comment that stood out to Redlin was from Ollie Cunningham. “After experiencing KLANG’s system during the tour, Ollie approached me and remarked that he simply could not imagine going back to stereo. It was a testament to the transformative impact that KLANG had on our production,” he shares.
One of the most valuable resources for Redlin was the support he received from KLANG’s Phil Kamp. He recalled: “During prep for the tour, Phil helped with best practices in how to set up the system and initial mixes. Once everything was up and running, I didn’t need of any more support, it just worked flawlessly every single day.”
With KLANG 3D in-ear mixing technology bringing a noticeable difference to the production, Redlin says the team were able to turn down their packs, resulting in less fatigue and more comfort even after a full day of rehearsal and a show.
“The sound was also more natural and organic, providing a superior listening experience,” he said. “I even created my own little KLANG mix for when I’m cueing, and I am definitely sticking with it in the future.”
Redlin is already preparing for the next tour and has plans to incorporate KLANG into the setup for everyone on the Brightman crew. He is also excited to explore the capabilities of the KLANG:konductor, which is considered the most powerful, flexible, and immersive in-ear mixing processor available on the market. “I’m eager to see how the KLANG:konductor can enhance our audio experience even further,” he adds.
“I’ll always want to spec KLANG from now on, even if it’s just for myself,” Lewe concludes. “KLANG has made my life so much easier, and it’s been a game-changer for keeping artists happy on stage. After all, if they’re happy, I’m happy!”
