Serious Power
The entire system, including the stage monitors, is powered by Crown Macro-Tech 3600-VZ amplifiers, with the notable exception of a dozen Clair BT-218 subwoofers that are powered from a single rack of six Powersoft DIGAM K10 amps that could easily power twice as many subs.
Powersoft amps can run on any international AC and when powered with 3-phase circuits, they can run on 208 volts, reducing their current demand on the power distribution.
Across the front of the stage, three 2-way Clair P-2 loudspeakers are fed from a matrix output balanced for more vocal and less guitar, appropriate for the seats in front.
At either side of the stage, stacked on top of the Clair BT-218 subs, Collins favors two pairs of Clair i-3 dual-12 line array enclosures to fill the floor towards the front and sides.
Steve May mixes Clapton’s monitors and also utilizes a DiGiCo D5, a change from the PM5D he used to mix monitors for Queen three years ago.
There is no outboard processing, with May preferring to “keep it in the box,” using no effects and a combination of the onboard parametric and graphic EQ for a stage that relies entirely on Clair 12AM floor monitors.
May is assisted on stage by Monitor Tech Jason O’Dell.
Clapton’s Nashville show was considered one his all-time best by veteran fans in Music City, with Gill returning at the end playing a red sunburst Les Paul for the encore, Clapton’s Robert Johnson-Cream classic “Crossroads.”
After a Spring European reunion with Steve Winwood, they both travel to Chicago in June for Clapton’s instantly sold-out Crossroads Guitar Festival, where they’ll be joined by Gill and dozens of other all-star guitarists.
Mark Frink is Editorial Director of Live Sound International, and he got to mix Eric Clapton one night in Boston when Mike “Funk” Ponzeck’s flight was snowed out, stranded at Logan Airport.