Lizzo is Back On The Road, Joined by Solid State Logic Live L550+, SSL Fusion and THE BUS+

Sonics by SSL

For all the SSL Live console’s features and functionality, Gonzales is clear about why he made the switch: “My main reason is the sonics. Then, the onboard processing and all the EQ.” He was previously using a variety of outboard hardware but has been eliminating some of it in favor of the SSL Live’s onboard processing. “The dynamics don't feel ‘hard’ unless you want them to. They're very, very smooth, very analogue feeling. I've been using the Blitzer on the bass,” he offers as an example, “and a little bit on kick and snare and the drum bus. Before, I was using an outboard dynamics processor, but I’m trying to see how much I can get away with using on the console, because it makes life easier.”

Todd, at front-of-house, also welcomed the change to SSL for the sound quality improvements over the previous brand of desk that he and Gonzales were using. “I find myself using less EQ with this console,” says Todd, who has been with Lizzo since 2021 and has also worked with Doja Cat, SZA, H.E.R., Normani, Vince Staples and many others.

On board with Fusion and THE BUS+

Gonzales does carry some outboard with his Live console, though, and two key pieces are the SSL Fusion and The Bus+. He brought one particular mixing practice that he developed while working with Wonder to Lizzo’s live production, where he generates 10 mixes for the artist, her five-piece band and the production crew from about 72 stage inputs. For Lizzo’s in-ear mix, “I mix off the left/right bus. I learned this from Stevie, because I mix only his ears,” he says. (Wonder’s live production employs a second monitor mixer just for the band.) “I make a band bus — a mix-minus — and I process that with an SSL Fusion and SSL The Bus+, then it goes into a hardware limiter.”

With that processing chain, Gonzales continues, “It keeps everything nice and firm in her ears, like she's singing to TV tracks. Then, her mic and the audience live on top of that mix. If the drums or anything hit a certain peak that limiter keeps it under control, so everything stays around the same RMS levels.” On the Fusion, he adds, “I’m using just a little spread and color. I'm using the Vintage Drive and the Stereo Image a little bit. That's all in the chain that's on just the music bus. It keeps it nice and in-your-face.”