Solid State Logic Live Mixing Consoles at FOH and Monitors for Lana Del Rey's All-Stadium Tour in Great Britain and Ireland

FOH engineer Dani Muñoz loves "the open architecture and flexibility of routing anything, anywhere" as tour wraps up with two nights at London's Wembley Stadium

London, U.K., November 25, 2025 — Lana Del Rey completed her first all-stadium tour of Great Britain and Ireland in July with Solid State Logic Live L550 Plus mixing consoles at FOH and monitors. The tour leg included performances at major football stadiums in England, Scotland, Wales and Ireland before wrapping up with two nights at London’s Wembley Stadium. Del Rey’s world tour, in support of her latest album, Did You Know That There’s a Tunnel Under Ocean Blvd., kicked off in Brazil in late May 2023 and has employed SSL Live mixing consoles since the beginning.

FOH engineer Dani Muñoz is currently mixing on a Live L550 Plus console and joined the tour in late spring 2024. He has been mixing on SSL Live consoles since 2017 and has also worked with Avenged Sevenfold, Kali Uchis and Thundercat. “I think it's the best sounding console out there,” says Muñoz. “It's my preferred surface. My favourite feature is the way this console deals with the summing. Obviously, the pre’s are huge and a big part of the sound. But I love how I can push things into my groups and buses, and it grows. I also love the open architecture and the flexibility of routing anything, anywhere.

SSL Live's open architecture and speed of operation
The SSL Live console’s open architecture and speed of operation have been a godsend for monitor engineer Caleb Rodrigues, who was a technician on the tour before taking on the role of monitor engineer in early 2024. Rodrigues handles a significant number of inputs and outputs on his L550 Plus console, including as many as 40 talkback channels for the band and various department techs. “This console has been the right tool for this job,” he confirms. “There are a lot of inputs that are constantly being added or repurposed. Being able to move them around and route them from different places on this console has been fast and easy to do.”

Much of Muñoz’s focus during the show is minimising P.A. and crowd noise leakage into Del Rey’s mic, potentially impacting her signature reverb-heavy sound. For parts of the show Del Rey sings on a platform in front of the main P.A., and her fans are very vocal in their appreciation. “We need to de-verb to reverb,” he explains. SSL’s Sourcerer expander plug-in allows him to see any problematic frequencies on the RTA display and filter them out. “It sounds very transparent and helps me avoid crowd noise or bleed from the stage,” he says, thereby allowing him to add reverb to the clean vocal mic signal. “I use Sourcerer to control a lot of live mics onstage,” he adds.

Muñoz has a second fader with a different EQ setting that is programmed to automatically take control of Del Rey’s vocal channel whenever she moves in front of the P.A. “She’s right in front of the hardest hitting speakers in the stadium,” he says. “I set a threshold in the Event Manager and when I bring that second fader up it mutes my main channel, and when I take it down it unmutes it,” returning control to the main vocal channel fader.

For Rodrigues, the Query button by each fader is indispensable, allowing him to quickly see what inputs are feeding an aux or stem and assign or unassign sources as necessary. “I can't imagine working without this button. It's the most used feature for me,” he says. Also useful are the 10 user buttons on the Master Tile: “I use those for my talkback groups, to assign things and talk to specific people or specific groups of people, like my principal or groups of techs. Those are handy and fast, especially on a gig like this where I've got a lot of talkback channels.”

Managing inputs and stems at monitors
Rodrigues builds monitor mixes for Del Rey, the musicians and the technicians using the SSL Live console’s stem capabilities. “In a lot of ways stems have reshaped the way that I mix monitors. I use stems to group tracks together, other vocalists together and then band members together for Lana. Then I can mix those individual stems as their own thing and mix her ears much faster when there needs to be more band or more tracks overall,” he says. The same workflow applies to the techs’ mixes: “They're not asking for more snare top, for example, so having a drum group that I can add more or less drums into is really handy.”

SSL Live V6 software, introduced at the end of 2024, adds an onboard Fusion Effect Rack that faithfully emulates the five key colour circuits found on the original Fusion outboard unit. Having the ability to change the order of the five separate coloration modules, just like the hardware, “is amazing,” Muñoz says. “Another thing I love about this console is also being able to change the order of your insert points. You can put anything — EQs, dynamics — before or after anything. That's something that I don't think I've seen on any other console, and it's crucial, because, with the amount of outboard I have, I can choose where to insert it.” Muñoz has also come to appreciate the Blitzer plug-in: “That's a hell of a compressor. It's like five compressors in one.”

Both engineers have nothing but good things to say about the SSL Live. “This console has been phenomenal for me,” Rodrigues says. “I've continued to expand and push it to its limits, and it has stayed with me every inch of the way.” For his part, Muñoz is happy to evangelise the Live console’s qualities. “It's a big sounding console and I absolutely recommend it,” he says. “I've been spreading the gospel to all my colleagues.”

About Solid State Logic
Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.