Robert Collins has mixed Eric Clapton for two decades, the first on a Midas XL4, and then, when channel count would have pushed him into a second console, he made the switch early on to a DiGiCo D5.
He’s stayed with that same low serial number D5 supplied by Concert Sound ever since.
He prefers to use his console in an analog manner and shuns the use of scenes, simply preferring to generally mix manually, rather than manage a set list of cues.
The rest of his “office” has also remained consistent. Favoring analog outboard to plug-ins, Collins’ insert rack houses classic essentials: a Klark Teknik DN360 graphic for system EQ, a pair of Summit TLA-100A tube compressors for the main vocals and six channels of dbx 160SL Blue Series compressors for backing vocals, acoustic and bass guitar.
Effects simply consist of a TC Electronic M6000 set-up as four reverb machines.
We saw him use the very same equipment when he mixed Paul McCartney at Coachella and the Las Vegas Hard Rock Cafe’s new Joint last spring. When I arrive at Nashville’s Sommet Center, Collins is meticulously running down a line check.
Collins chooses Audio-Technica AT4055 handheld large-diaphragm vocal condensers for Eric Clapton and his backing vocals, and an Avalon U5 Class A tube DI is used for Clapton’s Martin 000-28 acoustic, with another of each provided for a special guest.
He introduced his “very good friend, Mr. Vince Gill” to the stage to play on four songs during the show’s acoustic set, including his 1980s hit, “I’ve Got a Rock and Roll Heart” heard on his T-Mobile commercial.
Notable Choices
Clapton’s tweed Twin guitar amp is mic’ed with an Audio-Technica AT4047, whose design is based on early FET large-diaphragm condensers, like its namesake, the U47. An Audix i-5 is on his Twin as well.
There are also several Leslie cabinets on stage, including one that Clapton plays through, and they’re all mic’d top and bottom with large-diaphragm AT4050s.
In another notable choice, Steve Gadd’s snare drum is mic’ed both over and under with an Audio-Technica AE3000 large-diaphragm cardioid instrument condenser. Additionally, an AKG C 451 serves as a third snare mic for light brush work in the acoustic set, with an Audix D6 on the bass drum and Audix D4s for all four toms.
Clair Crew Chief and System Engineer Bob Weibel is assisted by Sean Prickett and Ariel Gendler in flying the loudspeakers, including arena-standard 14-box Clair i-5 line arrays with 12-box companion i-5b single-18 subs flown beside them. Sides are covered with 8-box i-5 arrays.
The tour pushes sightlines to the maximum and the upstage arena sides are covered with 12-box line arrays of 2-way, single-15 Clair i-DL. These enclosures have 90-degree horns that can bend up to 10 degrees, allowing a large angle of vertical coverage upstage.
