Barbra Streisand: Back to Brooklyn Tour

Jan 1, 2013 9:00 AM, Photos and Text By Steve Jennings

Back to Brooklyn Tour Features Orchestra, Choir, Special Guests

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photo of Barbra Streisand monitors crew

Barbra Streisand’s monitor engineers, from left: Jason Brace, RF Tech/Monitor Assistant; Blake Suib, Monitor Engineer (Orchestra); and Ian Newton, Monitor Engineer (Artist).

Streisand switched to an Audio-Technica 5400 Series mic this tour, chosen for her, Carlton says, because of its better rejection of unwanted ambience, which in turn helped maintain the orchestral balance no matter how much she moved around the stage.

DPA 4099 mics were used extensively up close on strings, with Schoeps CMC Mk4 for string ambiance. French horns and trumpets were miked with Milab DC96B. Woodwinds and reeds had Beyer M160s, and trombones Sennheiser 421s

The P.A. was all Clair Bros.: 56 I-5 cabinets for main and 180-degree side hangs, 40 I-3 for 270 degree and 360 degree hangs, 36 IDL for delay positions, 10 FF2 and 8 I-Micros for near-stage fill. Bob Weibel was the Clair crew chief. Ian Newton handles monitors for Streisand and guests onstage, as he has since 2006, while Blake Suib works with band and orchestra. This is Newton’s second time on the SD7, having tried it previously on Roger Waters’ The Wall tour. Suib is on an SD10 for the first time. Neither uses outboard effects, though Chris Botti brings his own reverb for Carlton to feed him. Streisand is not on ears, and 40 wedges ring the stage. “The A-T mic works very well with her movement,” Newton says. “I’ll fade them up and down as she moves about the ramps onstage to minimize spill into the orchestra mics. I’m sending the same mix to all the wedges using the Copy to Mix feature on the SD7. It does get heavy in the outputs.”

The 48 outputs on the SD10 are much appreciated by Suib. “We are traveling with all the first orchestra chairs and the whole woodwind section,” he says. “I have 16-channel Aviom personal mixing systems that I send stems to—all the band and some traveling orchestra have them. Then it’s just normal mixes for the people that don’t need to change anything.

“There are not many chances these days to work with this caliber of band and crew,” Suib concludes. “Sound is very important to Barbra, and she makes sure we have what we need to give her and the band the best there is. I think that she is the best singer of our time, and it shows every night. This is the first tour in a long time where everything is live, no tracks! It’s been just a real pleasure.”






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