ProAudio Review - April 2008 - (Page 42)

BROADCAST | Feature GRAMMY Continued From Page 41 several reverb effects plug-ins, in addition to the new TubeTech CL1-B Compressor. Readily conceding that the ORB Gelco trailer, as a remix area, left something be desired, Singer looked for a cost-effective solution. While the operation’s Genelec DSP 8200 Series loudspeakers feature built-in digital equalization, “that only goes part way to overcoming acoustic anomalies,” Singer concedes. “The untreated ORB environment meant that the [DSP] was working pretty close to its limits. To help it along, we asked Media Specialty Resources [MSR] to provide a series of [StudioPanel] absorbers, diffusers and bass traps for the walls and ceilings.” The treatment made a big difference, Singer says, “and meant that we had available more accurate monitoring within the second mix area.” Grammy veteran Klaus Landsberg helmed a separate Audience Reaction Mixing room, which received feeds from 34 mikes within Staples Center that were mixed on a Yamaha DM2000 digital mixer and a bank of 32 channels of Focusrite OctoPre pre-amplifiers. Monitoring was via JBL Professional LSR-4328P active systems. Audience mikes comprised Audio Technica BP4029 stereo shotguns, AT4051a cardioid condensers, AKG C547 hypercardioid boundary models on the stage front and four Sennheiser MKH-416 hypercardioid shotgun models positioned on the stage apron covering the left and right sides of the audience. Landsberg produced a 4.0-channel mix: front left-right and rear left-right. The final mix passed through a pair of CEDAR DNS1000 Dialog Noise Suppression unit “for room shaping,” Landsberg says, and then to a TC Electronic DB-8 Broadcast Processor used as a 5.1-channel multiband compressor “to make a cohesive whole” of the multiple mike sources. Stage microphones included wired and wireless models from AKG, Audio-Technica, DPA, Earthworks, Sennheiser, Shure and Neumann. Soundtronics’ Dave Bellamy again served as the show’s frequency coordinator, working with Bill Kappelman, as more than 40 wireless mikes were re-used during the Grammy Awards. Sennheiser models included a custom decorated SKM5200 with an MD5235 capsule for Rihanna, and a SKM5200 mic with MD5235 capsule for Beyoncé. Sennheiser SKM5200 hand-helds were used by presenters Ludacris, Joe Mantegna and Bonnie Raitt, and an SKM5200 mike with MD5235 capsule for The Black Eyed Peas’ Fergie, who joined John Legend to perform “Finally.” The Foo Fighters’ Dave Grohl used his usual Sennheiser MD431II dynamic, backed by drummer Taylor Hawkins on an Evolution Series e945 mike, while performing “The Pretender” backed by the Grammy Philharmonic Orchestra conducted by Led Zeppelin bassist John Paul Jones. Andrea Bocelli honored Luciano Pavarotti with Josh Groban during “The Prayer” on twin SKM5200s with MD5235 capsules. In London, Amy Winehouse used an Evolution 935 condenser mike during her two-song set. More than 250 Audio-Technica microphones were available, including Artist Elite 5000 Series wireless systems. Artists using AEW-T5400 handheld wireless mikes included Kanye West, Morris Day and The Time with Rihanna; Kid Rock with Keely Smith; Aretha Franklin and BeBe Winans; 42 | ProAudio Review | April 2008 Subscribe to the Digital Edition of Pro Audio Review http://www.myparmag.com www.proaudioreview.com http://www.rolls.com http://www.rolls.com http://www.rolls.com http://www.rolls.com http://www.rolls.com http://www.proaudioreview.com http://www.myparmag.com

Table of Contents Feed for the Digital Edition of ProAudio Review - April 2008

ProAudio Review - April 2008 Contents A Little More Recognition Please Studio News and New Products API 1608 16-Channel Analog Console TASCAM X-48 Digital Audio Workstation SSL Matrix Super Analogue Console Toft Audio Design Series ATB Analog Console KRK Systems Exposé E8B Powered Monitor Broadcast News and New Products ZOOM H2 Portable Digital Recorder Producing Surround Sound at 50th Grammy Awards JBL LSR4312SP Linear Spatial Reference Powered Subwoofer Audio Production For Gaming Euphonix S5 Fusion Digital Post Production Console NAB Hot Gear Soundcraft Vi6 Digital Live Production Console Go To A Show! Contracting News and New Products Studio Consoles Studio Wireless Microphones Alicia Keys “Superwoman”

ProAudio Review - April 2008

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