Tom Jones will never go out of fashion, so Mix caught up withhis guitarist/musical director Brian Monroney and the sound engineerswhen he hit San Francisco’s Fillmore Auditorium.
Monroney: “We have Metric Halo gear with us: three Mobile I/O2882s, with two of them offstage connected to a pair of Mac G4s usedfor playback of backing tracks, and a third one in the keyboard rig.[Keyboardist Frank Strauss runs Native Instruments’ B4 and Pro-53 softsynths on a G4 PowerBook.] The two offstage systems are identical, bothrunning Digital Performer, and are used to play back tracks on about aquarter of the songs in the show. We send three stereo submixes to FOH,and monitors get the same stems, plus two click/count-off channels: onefor our drummer, Herman Matthews, and the other one goes to keyboardsand Tom.
“We’re basically taking advantage of only a fraction of whatthe Mobile I/Os can do, but they sound exceptionally good and they’vebeen rock-solid, both in terms of their physical design and thestability of the software/drivers. Tom’s tour manager, Sandy Battaglia,provides and maintains all the backline gear through his company, GigProductions, and he gave me carte blanche in setting up thesesystems.”
FOH engineer Tom Woodcock mixes on a 48-channel Yamaha PM4000 using46 inputs, while monitor engineer Ed Ehrbar uses a Yamaha PM4000M, with52 input channels. “I’m running 14 in-ear mixes for the band andTom, and two wedge mixes. Tom has been using Shure mics live for hisentire career. He says he bought his first one while singing in clubsin Wales during the early 1960s. We are currently using a Beta58A.”