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Below: FOH Engineer, Howard Page, was heavily involved in the design process of his Harman Struder Vista 5 SR; Monitor Engineer, Pete Buess, with the Yamaha PM5D; Production Manager, Seth Goldstein and Charles Zimmer, Production Coordinator at SOS Touring; Systems Tech and FOH Assistant, Charlie Hernandez; Lighting Designer / Director, Danny Nolan.

compressor for instance - then it’s not a good console for live operation. “I made contact with Studer’s management

suggesting they build a dedicated live version of the exciting large scale studio Vista. The Studer Vista 5 SR is the result; a truly wonderful console. It’s probably the finest sounding - of the latest generation - of digital consoles that there is. I’m biased, but I do love it! You can do anything with it, and as the DSP is fully configurable you’re only limited by the amount of installed hardware to have it do whatever you can think of; it’s amazing,” he concluded.

MONITORING CONSISTENCY Monitor Engineer, Pete Buess’, time at Clair Global has seen him endure a varied 26-year career. He’s previously worked with acts such as Phil Collins, Janet Jackson and Bon Jovi with his first live mixing gig being an Aerosmith tour in 1985. The Las Vegas resident often shares his duties as a Monitor Engineer with fellow Clair employee, Ian Newton, who is currently out on the hugely successful Roger Waters’ The Wall tour - another long-standing triumph for Clair. The Yamaha PM5D desk Buess mixes Sting

on was an inherited choice from Newton. Buess said: “We’ve been friends for 20-something years and we keep each other’s gig seat warm. If he comes back, this is his gig. God bless him, I love him to death! This desk fires up every day and its stable, that’s the most important point. I like the PM1D a little better, but it’s too large for this tour. This Yamaha desk is a very steady, reliable console and we don’t have any issues

which is what a show like this needs.” Buess required a 24 mix out and 48 in set

up. “I pretty much just save scenes per city,” he continued. “The band is so tight, that it’s all real, a real band of incredible musicians, and they’re very consistent which helps me,” he stated. As you will probably gather, there’s no such

thing as a virtual sound check in the world of Sting and his band. Buess continued: “They’re very particular

about how the show sounds, and it’s great. Sting’s amazing at what he does,” he added, showing a genuine passion for the job. Drummer, Vinnie Colaiuta, also has his own

monitor station where a Yamaha LS9 console is utilised by Drum Tech Noel White. Sting uses a custom built Sennheiser 865 microphone model, with just a touch of reverb on his vocal. The band uses a combination of Electro Voice, Shure, Neuman, Earthworks and Beyerdynamic microphones. Monitor and PA Tech, Steve Carter, is a

Yarmouth native who now resides in Orlando, Florida. His plans to work stateside within sound began five years ago and he has been a member of the Clair audio network for two years, working for Sting. Carter said of the i3: “I like the sound of this PA, there’s a lot of high fidelity in it. The subs we’re using, I think are the best in the world. I’ve had them on pretty much every tour I’ve ever done.” Again, the sentiments of just how important

it is to retain the same faces as much as possible on a tour, has partly been what’s made Carter’s

transition to a new job and new country far more fluid. “It makes a huge difference that the core crew have been together a while, it’s like an awesome family. And Sting is very approachable, he comes to chat and hang out, it’s very laid back and we’re working with amazing music every night. Vinnie Colaiuta, Sting’s drummer, is my favourite drummer ever; this band are absolutely top players.” On stage, the Clair 12AM and R4’s are what

Sting has always used. “The PLM 20000Q amps are all we use at Clair now because they’re so solid and reliable. They really work well, every day and we’ve never had any problems with them,” Carter stated. At the monitor station, there is a total of

nine PLMs 21 boxes (per side) were utilised for the PA. “This is quite a small tour really,” Carter continued. “But we have the ability to add a lot more PA if needed. Processing is built into the amp rack and Howard uses the brilliant Lake LM44 out front.”

TRICKY FREQUENCY COORDINATION Sennheiser SR2050 IEMs were used with Clair combiners and the Sennheiser Elliptical design for transmitters. Buess said: “The hardest part is going from country to country and city to city, it’s a huge challenge for Steve and I, it’s a lot of work. Every country has different frequencies and channels and that’s a big part of what we do when running this much RF. It’s easier in the states with the zip code software but there’s a lot of Clair research that goes into frequency coordination.”

TPi MARCH 2012 • 05

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