That also eliminated an Optocore fiber run to the catwalk for the amps driving the delays. Following the installation of a VerTec rig in the Staples Center in late 2011, ATK was able to eliminate its usual delays and instead used the top eight modules of three installed arrays for the same purpose. But with the addition of the fiber, mic inputs from the plaza simply appeared as Stage C for John Harris and Eric Schilling, who mixed the show’s performances in the Music Mix Mobile truck parked at the Staples Center.ĪTK’s JBL VerTec rig was unchanged this year except for the delay speakers. Previously, a separate truck was needed to mix that remote stage performance. “There’s fiber all over the LA Live campus,” explained Hank Neuberger, the Grammy telecast sound supervisor. The remaining console would receive the essential elements that would allow the show to go on.įor the first time, the remote performances from across the street at the Nokia Plaza were also delivered by fiber, which has been installed by AEG, owners of the LA Live complex and the Staples Center, since the Foo Fighters last performed there on the 2008 Grammy show. Should one of the FOH consoles fail, he said, he could switch the Optocore feeds. In the event of a fiber failure, Peterson could switch the amps to their analog inputs and keep the speaker system running. “We ran a 16-pair to each mixer location just in case,” he said. The only copper in the system was strictly for backup. Looking to the future, with AES/EBU outputs now beginning to be included on some microphone RF receivers, said Peterson, “We could completely eliminate preamps on the microphone signal path.” That’s the first time we’ve ever been able to do that on the Grammys-a completely digital signal path.” Noting that this was the third year for the Optocore fiber system, Peterson said, “We’re 100 percent digital from the mic preamp A-to-D conversion to the AES input of the amplifier. The DiGiCo fiber was maxed out at 488 channels, with the Optocore fiber system transporting 160 channels (of a potential 256 maximum). As Fletch also related, the two FOH desks and each pair of monitor consoles were in mirrored mode for redundancy.ĭual Optocore rings, the topology ensuring dual-path redundancy in the event of a break in the fiber, ensured additional redundancy. With each mixer having had only one or two opportunities to use the consoles at previous events, two DiGiCo techs were on hand to provide assistance if required. “We’ve got more layers of backup and failovers than we’ve ever had on this show since I’ve been doing it,” he noted during setup prior to the broadcast. The transition to relatively unfamiliar consoles also meant changes to the distribution setup, according to system engineer Jeff Peterson. And Mike has control of all the production elements.” Then for the RF mics, Ron has control, because they go across both stages. On the B stage, Mike has control of the mic pres. “Tom, the A stage monitor guy, has control of the mic pres for that stage. “We’re all sharing the same mic pres, which are under the stage,” explained live system manager/tech Andrew “Fletch” Fletcher. At the monitor positions, Tom Pesa and Mike Parker each had a pair of SD10 desks-a main and a backup. At FOH, music mixer Ron Reaves handled 168 inputs on an SD7, alongside production mixer Mikael Stewart on a 96-input SD10. ![]() This year, the spotlight switched to the audience PA system, which underwent some refinements to its infrastructure.įor this year’s event, ATK Audiotek, longtime production sound provider for the Grammy show, made a major mixing console change, bringing in six DiGiCo desks for front of house and monitors. In recent years, much of the audio industry’s focus on music’s biggest night-the Grammy Awards show telecast- has been on the broadcast production side as it has made the transition to ATSC transmission and 5.1 surround.
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