Sound for the 54th Grammy Awards By Mel Lambert

Transcription

1 TECHNICAL FOCUS: AUDIO Copyright Lighting&Sound America April Sound for the 54th Grammy Awards By Mel Lambert Music s Biggest Night turns to DiGiCo SD Series consoles and an all-digital Optocore fiber network Time and tide wait for no man, they say. When new technologies eclipse those of yesterday, we inevitably look for opportunities to put them into service. In mission-critical situations, however, where no opportunity for a retake exists, major changes are not implemented lightly or without careful evaluation. ATK AudioTek, based in Valencia, California, has handled live sound at the Grammy Awards for several years. Held in mid-february at the cavernous Staples Center in downtown Los Angeles, the event, heralded as Music s Biggest Night, presents unique challenges. It s an enormous show, with two large performance stages and satellite commentary positions; mixing sound for an audience of industry movers and shakers requires a cool hand and watchful eye on system reliability. When the decision was floated to review the choice of mixing consoles for this critical event, all options were carefully evaluated. Ultimately, the various Yamaha PM1D digital consoles that in recent years made up the front-of-house system a dedicated music-mixing console feeding submixes to the primary production console plus two stage monitor consoles were replaced by DiGiCo SD Series consoles, linked together via a fiber-optic topology for added redundancy and backup. San Francisco-based Hi-Tech Audio supplied ATK with a Digico SD7 for music mixing and a smaller SD10 for The Grammy Awards audio crew. Photo: Courtesy of The Recording Academy /Wireimage.com April 2012 Lighting&Sound America

2 Taidus Vallandi, technical sales manager, DiGiCo/Group One; Andrew Fletch Fletcher, consultant/pa system designer; Leslie Anne Jones, The Recording Academy, P&E Wing; Jeff Peterson, consultant/pa system designer; FOH music mixer Ron Reaves; production mixer Mikael Stewart, ATK. There was a noticeable difference in how the system sounded this year, with positive comments from touring and recording engineers alike. It s not that the sound was bad in previous years, but the overall intelligibility and the quality of the audio [this year] was noticeable. There was detail that we had never heard before, which we attributed to the addition of the DiGiCo consoles. Peterson production blending the stereo music mix, subwoofer/lfe mix, and a vocal stem from the music console with production tracks and announce mics. For Stages A and B there were the specified pairs of SD10 monitor consoles, a main and a fully mirrored backup. The six SD racks beneath the stage received mic- and line-level sources, and were interconnected to the control surface as one big, shared fiber network, says Louis Adamo, owner of Hi-Tech Audio. As on previous Grammy Awards, Mikael Stewart, ATK AudioTek s coowner/vp of special events, mixed production sound, while Ron Reaves handled music mixing, Tom Pesa oversaw monitors for Stage A, and Mike Parker handled monitor duties for Stage B. The Digico SD consoles sounded more open and transparent than our previous Yamaha offerings, Stewart says. A contributing factor [to those sonic differences] would be the SD mic pre-amps, which are much newer in technology compared to the 12-year-old Yamaha predecessors. We were also able to eliminate several stages of A-to-D and D-to-A conversions using an Optocore fiber-optic system [interconnecting the console outputs to various loudspeaker processors and power amplifiers]. The only conversion was the input mic preamp A-to-D and then, at the ampli- April

3 TECHNICAL FOCUS: AUDIO Countryman B2D Lavalier countryman.com/b2d fiers, back from D-to-A. Integration of the Digico consoles provided a seamless transition to an all-digital platform, says Grammy audio coordinator Michael Abbott, who once again oversaw all system infrastructures. The engineers arrived prior to load-in with files prebuilt via off-line editing. Schedulewise, the consoles were up and running for the line check well before needed on Wednesday afternoon. The enhanced sonic performance, I consider, is due to the floating-point processor technology utilized by the new SD Series consoles. The transition to the SD Series was relatively seamless, Stewart says. The rest of the infrastructure remained constant from previous years, the only changes being the consoles and transport, he notes. Overall, I like the SD Series sound quality, ease of use, and seamless integration within the full system of consoles. This year s Grammy Awards, despite the last-minute changes [following the sad death of Whitney Houston] went very well, with great results. It never gets easier; the producers are continuously trying to make the show better than previous years; that, in turn, makes our jobs all that much more challenging. Prior to the Grammy Awards, Adamo reports, ATK had access to a pair of SD10 consoles for several shows, including The Halo Awards, sponsored by the TeenNick television network; the BET Awards; and American Idol. He also had several days in the shop using a Pro Tools workstation for audio playback. Digico also supplied a console for Ron Reaves to use in his garage for a week, to acclimatize himself with the system, Adamo says. Yes, Stewart confirms, we had done a full mock-up in the ATK shop, the week prior to the show, with an entire sound system. And [at Staples Center] we had the system up and working as early as the production 76 April 2012 Lighting&Sound America

4 Adele, who won multiple awards, used her favorite Sennheiser SKM 2000-XP wireless handheld transmitter with MMK capsule. Photo: 2012 FilmMagic would allow, which was Tuesday afternoon [prior to the Sunday live broadcast]. During the show, I assigned all my key input faders to DCA control groups, so that I could access them while on any layer. Primary production elements were on the top layer, with less important inputs buried below. I received AT, VT, commercial-break packages, music, and dialogue from the tent remote [in nearby Nokia Plaza], and a full split of all mics, as well as backup feeds for emergencies. The SD7 behaved absolutely flawlessly, Reaves says. It is just the right tool for this kind of job. The new consoles represent a big sonic upgrade; we received lots of positive comments from recording engineers in the audience. According to Leslie Ann Jones, from the Recording Academy s P&E Wing, who supervised front-of-house audio, The sound in the Staples Center was more open, especially with the vocals. Because the acts are so different, every year has its own challenges. But ATK does a stellar job of making Staples Center sound like a performance venue, not a hockey arena! (During the winter season, Staples Center hosts the Los Angeles Kings, an NHL team.) The DiGiCo fiber-optic ring The SD10 production console handled 96 simultaneous input channels and 48 output busses, says technical consultant and PA system designer Jeff Peterson, while the SD7 music console was configured with 168 input channels; while they were not all used, the SD7 could have handled another 80 outputs. All six digital consoles were connected to one another via a single Digico fiber-optic ring, which carried all input and output signals. Peterson designed the show s PA and console system, with assistance from Andrew Fletch Fletcher. Since the SD10 features only a single DSP engine, we provided a second surface for each monitor position, which was run in mirror mode as a back-up, Stewart says. And although his console was not mirrored with another SD10 There was no physical space for it, Peterson says all production inputs were also provided on Reaves music console. In the rare event of [the production] desk failing, we could instantly switch to Ron s console to drive the system while we rebooted Mike s, the system designer says. The SD7 features built-in redundancy with dual-mirrored processing engines. This strategy was considered adequate enough not to require a mirrored console, although a spare, offline SD7 was available in case of complete system failure. Zac Jac Duax, a Digico support consultant, and Taidus April

5 TECHNICAL FOCUS: AUDIO The JBL VerTec loudspeaker arrays. Vallandi, technical sales manager for Group One, Digico s US distributor, were at the front of house during the show to handle any emergencies. The Digico fiber-optic audio network carries up to 488 digitized audio channels. We maxed that out, with 256 mic pre-amps available to every console on the network, 128 analog outputs dedicated to foldback, 40 channels dedicated for console links, plus 64 outputs dedicated to backup PA drive and auxiliary areas, Peterson says. There was a noticeable difference in how the system sounded this year, with positive comments from touring and recording engineers alike. It s not that the sound was bad in previous years, but the overall intelligibility and the quality of the audio [this year] was noticeable. There was detail that we had never heard before, which we attributed to the addition of the Digico consoles. ATK s main PA system comprised four identical hangs of 12 JBL VerTec VT4889 line-array cabinets, augmented by a single set of 12 JBL VerTec VT4880A subwoofers flown above the center of the stage area. All cabinets were powered by Powersoft K10 amplifiers, with XTA Electronics DP226 processors providing system equalization and signal routing. Three clusters of VT4889DP-DA cabinets and sidefacing VT4880A fills for the upper loges part of Staples Center s permanent infrastructure were used to cover rear seating areas. The main stereo mix fed the inner pair of VerTec arrays, with a separate mono mix to the outer pair plus a delayed mono feed for the rear and side audience areas. VerTec line arrays consistently perform well for us, says Brett Valasek, ATK AudioTek s general manager. Combined with the new in-house PA system at the Staples Center, our system provided the necessary coverage and output to deliver high-quality sound to the live audience. The Optocore digital audio network A dedicated Optocore digital fiberoptic network ring interconnected all system components throughout Staples Center, receiving MADI-format streams from both front-of-house consoles and transporting these to XTA loudspeaker processors in AES format and onto the Powersoft amplifiers. The network s three-way redundant architecture required just eight Optocore devices in four locations, thereby distributing the primary AES-format signals and an analog backup to the processors and amplifiers, in addition to carrying control data. At the front of house, the Optocore network received three MADI-format feeds from the Digico consoles. The SD10 production console provided the main show feed and primary word clock sync to one of a pair of Optocore DD4MR-FX dual-channel MADI interfaces; the second DD4MR- FX received two MADI streams from the dual-engine SD7 music-mix console, along with a redundant word clock thus providing a complete backup feed. Additional front-ofhouse-generated content included network control data for the Powersoft amplifiers. Two dual-fiber multimode cables ran from the front of house to center, left, and right locations beneath the stage. Two Optocore DD32R-FX AES devices at the center position fed signal and control data to 10 XTA loudspeaker processors; a novel use, by Peterson, of the DD32 s bi-directional AES ports allowed the postprocessor AES signals to be re-injected into the network for distribution to stage-right and -left processors. Three outputs were allocated for front-fill loudspeakers and subwoofers. Feeds on each side of the stage for the main line array amplifiers were via an Optocore X6R-FX-16AE with 16 AES-format outputs and a V3R-TP- 8LO eight line out unit that connected to sources requiring analog signals. The X6R-FX-16AE connected to the network via optical ports and was linked via additional RJ-45 ports to the V3R-TP-8LO, thereby creating a subring topology. I first encountered the Optocore system two years ago at the 2010 Jerry Lewis Labor Day Telethon for Muscular Dystrophy, Peterson recalls, where I saw how the devices can be rapidly deployed and connected simply with lightweight fiber-optic cable, thereby allowing long runs and better sound quality than traditional copper cabling. Combined with high channel counts, large matrix capability, and flexible and redundant routing features, I became an instant advocate, says the certified Optocore event technician. The system was up and running and, due to the fiber network s opto-isolation, dead quiet. I was able to seamlessly route signals as needed. Using the macro feature of Optocore Control [software], I could instantly Photo: Courtesy of The Recording Academy /Wireimage.com April 2012 Lighting&Sound America

6 The new... Rack-Pack The all inclusive 72 mic input system at a special introductory price. DiGiCo has Supercharged the award winning SD9 with a significant expansion in Channel count, Dynamic EQs, Multiband Compressors and Matrix, and the addition of DiGiTuBes, Reorder of Busses and Multichannel inputs (formerly only available on SD7). Further new features include an expanded Aux Panel, increased Dynamic functions such as a Duck option and expander for the Gate, a De-esser and two types of Knee for the Compressor. There are also new FX types with multitap, ping pong and stereo delay, with different delay times for left and right. A warmth button is provided on each channel for analogue emulation and two types of EQ have been added (Classic and Precision). Plus, the SD9 now features Sets (previously only available on SD7T), which has been enhanced to allow for Set Spill allowing the creation of Sets with easy changing of the console layout to display members of that Set. And if that wasn t enough, to coincide with the Supercharged launch, DiGiCo is offering the Rack Pack, a 72 mic input system at an introductory total system price. SD-9 Supercharged Rack Pack. Only $28,450. Shipping Now. SD9 Rack-Pack Features: 48 Flexi Channels (Equivalent to 96 channels of DSP) 16 Flexi Busses plus L/R, L/C/R Master, 2 Solo Busses, 12x8 Matrix 8 DiGiTuBes Available 8 Dynamic Equalizers 8 Multiband Compressors 8 Digital Effects 16 x 31 Band Graphic EQ Multi Channel Folding Reorder Busses Two D-Rack Stage Boxes Two digital snakes Flight Case CIRCLE READER SERVICE 45 Exclusive US distribution: Group One Ltd Toll Free

7 TECHNICAL FOCUS: AUDIO new DSP-based processors, we can eliminate the XTAs and, if required, run the entire network from A-to-D to loudspeaker at 96kHz. Microphones and in-ear monitors Audio-Technica provided over 250 mics for the live broadcast, including an array of wired mics and Artist Elite Beach Boys used a combination of AEW-T5400 cardioid condenser mic/transmitters and AEW-T6100 units for vocals. The backline complement of A-T wired mics included AE5400s, for backing vocals, horns, and rotaryspeaker cabinets; ATM350 cardioid condenser clip-ons, for strings; AE5100 cardioid condensers, for hihat and ride; AT4050 multi-pattern I first encountered the Optocore system two years ago at the 2010 Jerry Lewis Labor Day Telethon for Muscular Dystrophy, where I saw how the devices can be rapidly deployed and connected simply with lightweight fiber-optic cable, thereby allowing long runs and better sound quality than traditional copper cabling. Combined with high channel counts, large matrix capability, and flexible and redundant routing features, I became an instant advocate. Peterson switch between main and backup consoles, and re-route around any failed speaker processor. Fortunately, we never had to use the feature, but I m glad it was there. Although this year's Optocore network was run at a sampling rate of 48kHz, there are already plans to double this to 96kHz for subsequent shows coordinated by ATK. The current weak links, Peterson advises, are the XTA processors, which operate at 48kHz. Once ATK upgrades its Powersoft amplifiers to include the 5000 Series UHF wireless systems. Jason Aldean used AEW-T6100 wireless hypercardioid dynamic handheld transmitters for lead vocals, while The condensers, for overheads; and AT4081 bidirectional ribbons and additional AT4050s, for guitar cabinets. All performers using in-ear moni- 80 April 2012 Lighting&Sound America

8 tors during the Grammy Awards including Adele, Coldplay, Maroon 5, Foster the People, and Taylor Swift were outfitted with Shure PSM1000 personal monitor systems. The PSM1000 s RF stability is so solid that it allows us to focus on mixing, says monitor engineer Pesa. Using the cue mode feature, we provided the monitor engineers a single pack with all of the bands mixes so that they could scroll through them while on stage." Bruce Springsteen and The E Street Band used Shure SM58 vocal mics, while Shure UHF-R wireless mics, with a combination of SM58, Beta 58A, and KSM9 handheld transmitters, were chosen by Bonnie Raitt, Coldplay, The Civil Wars, and Jennifer Hudson for her emotional rendition of I Will Always Love You in honor of Whitney Houston. During performances honoring The Beach Boys, Maroon 5 and Foster the People used Shure models, as did Glen Campbell, The Band Perry, and Blake Shelton. Paul McCartney closed the show with a wired Beta 58. Adele, who won the awards for Album of the Year, Best Pop Vocal Album, Record of the Year, Song of the Year, Best Short Form Music Video, and Best Pop Solo Performance, used her favorite nickelfinish Sennheiser SKM 2000-XP wireless handheld transmitter with MMK capsule, while Foo Fighters performed at Nokia Plaza with Sennheiser MD 431 II vocal mics. Bruno Mars used an SKM 2000-XP with an MMD capsule; the show s host, LL Cool J, was on an SKM Alicia Keys sang with Bonnie Raitt through an SKM 5200-II vocal mic with an MD5235 capsule. Katy Perry opted for an SKM 5200-II/MD 5235 combination, and Blake Shelton used an SKM 5200-II/MD 5235 vocal mic, as did Tony Bennett. ATK also used three AKG C414 microphones on each of the three onstage pianos. Rusty Anderson, who played guitar during Paul McCartney s performance, used an AKG DMS 700 digital wireless system, while Chris Brown used a Crown CM-311 microphone for vocals. According to Entertainment Weekly, the Grammy broadcast was seen by 39.9 million viewers, a 41% increase from the year before, and the secondlargest audience ever. It is also the first time the Grammys pulled a bigger audience than the Academy Awards since at least 1992 and probably longer, making it the biggest edition of Music s Biggest Night in years. Mel Lambert has been intimately involved with production industries on both sides of the Atlantic for more years than he cares to remember. He is now principal of Media&Marketing, a Los Angeles-based consulting service for the professional audio industry, and can be reached at mel.lambert@mediaandmarketing.com; +1/ CIRCLE READER SERVICE 47