Rolling Stone: U2 ended this decade by playing to some of the biggest audiences of your career, in those stadiums, in the round. How has that affected the music — your connection to rock & roll in those dimensions?
Edge: It's only made possible because of the technology, the in-ear monitors. We can hear each other perfectly. Otherwise it would be an absolute disaster. Because of the in-ear technology, I'm right next to Larry, right next to Adam and Bono, in sonic terms.
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“Adam is strictly on the wedge system because it’s hard for him to get the feel he likes through ear monitors,” Garber adds. “We have to watch the radio frequencies as well, because the ear monitors are wireless. It’s very important, especially for a show this size, because the lead singer needs to hear the same thing as everyone else, with the same consistency. The problem with having the small stage is the speed of sound coming out there to Bono from the main stage, so they really need the ear monitors. We have signal boxes tell us which mic he is on. With a tour this large, you really need a good rapport with the band, because their attention is split so many ways. But if we do our job well, they’ll never know we’re here.”
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Bono and The Edge each have their own monitor engineer. Alistair McMillan and Niall Slevin mix on separate Digico SD7 consoles with dual engines running two identical mixes. If one console fails, the other engineer can mix from the second engine on the working console. Larry Mullen, Adam Clayton and below stage keyboardist Terry Lawless’ feeds are mixed by engineer Dave Skaff on one of two redundant Digidesign Profiles. Bono’s monitor chain is entirely analog to avoid latency back to his Future Sonics in-ear monitors. Monitor engineer Alistair McMillan uses TC2290 delays and a Bricasti M7 reverb for effects in Bono’s mix.
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“Usually, The Edge just gets a bit of kick and snare from the wedges. We have a pair of subs underneath the stage to give him subharmonic information he can feel. A lot of people who have just started using in-ears miss the banter between themselves, the band and the rest of the crew. They feel slightly isolated, so you'll see them take one ear out and use a wedge or two. It gives them the ability to key off one earpiece [the vocal] without feeling so isolated. The problem is that the level you supply to the ears goes up and you can fatigue the ears because the earpiece is battling against the SPL of the wedge.”
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