I had also never seen the DBX Quantum Digital Mastering Processor, which Curtis told me is “like a Finalizer, on the record buss.” Each night, he has to be prepared to give different band members show tapes in different formats. I spotted a minidisc recorder, as well as a Yamaha CD burner, that Curtis said “really does a nice job live,” and features Apogee filters.

Curtis roams the arena during the soundcheck and show carrying a PC laptop equipped with a program called PC Anywhere, and can talk to the Soundweb and adjust how the different cabinets and cells are driving. He also has the ability to send instant messages, and I was startled, during the show, to see the screen suddenly scroll out “Hey, is anybody there? Just type yes and push Enter”

FOH EQ's

Besides the XTA graphic EQ out front, there was also a Klark Teknik that ran the frontfills, and a BSS Varicurve that was inserted on Andy Fairweather-Low’s acoustic guitar channel. He alternates between steel string and nylon string, so the Varicurve offers Robert a convenient way to toggle back and forth between stored curves for the two sounds.

The difference that thirty years made in a Clapton show was both musical and sonic, a shift from chaos to beauty, from maddened thrashing (and a crappy PA) to accomplished songwriting (and a finely tuned multi-zoned system.) Cream was a straight-up madhouse, and Clapton 2001 is a conscious adult delivering music on purpose. A lot of fans, including people I know, complain because he doesn’t shriek shredding leads on every song, but don’t seem to appreciate the way he has written so many incredible songs, that would be great no matter who sang them.

The 900 rig can react to either the smooth Brasilian beat of a song like “Reptile”, or a howling guitar solo. On “Reptile,” I closed my eyes and listened to the blend of tones, that Robert combined like a peaceful painting, putting to use his knowledge that comes from having mixed Clapton and band for 13 years. On the rock songs’ solos, the PA became a giant guitar amp, in the nicest sense of the word.

Clapton monitor mixer Kerry Lewis and C.K.

It was a blast to walk the stage after the show with monitor mixer Kerry Lewis. This man has some stories - he spent years with the Clash, and ended up having a custom made leather scabbard to carry a hockey stick that he defended himself with! That was when punk was punk, my friends!

Another of his gigs was with Tom Jones, who Kerry ended up being essentially the only person to speak with on show nights. “They’d call me on the radio when (Tom Jones’ personal) bus was nearing the gig, and tell me, right, get the band onstage. They’d start playing, he’d walk up, I’d hand him his mic, and say ‘Hello, Tom’, and that was it!” After first taking care of business, making very sure that the wedges were loud enough, earlier in the day.