With frequency coordination provided by Dave Bellamy of Burbank-based Soundtronics Wireless, the GRAMMY telecast braced itself for the operation of 50 RF channels within the cavernous Staples Center. Out of 28 wireless channels dedicated to the 23 musical acts that performed live, 12 were occupied by Shure.
"We probably averaged 30 to 40 inputs per act," FOH music mixer Ron Reaves said, providing an insider's glimpse into the stage content arriving at his console. "In each case, a majority of the mics were hardwired. Vocals were still dominated by RF microphones, but in my opinion, we're starting to see a trend emerge on these shows where there's a little more wire than in the past. Maybe we're trying to condition ourselves to changing conditions within the spectrum, but clearly anything at this event that didn't have to be mobile was stuck on a wire."Reaves also noted, however, that "there were absolutely no RF failures that I was aware of. If there were any issues, from out front we didn't notice them. The performances went on without a problem. This job is just a joy. In spite of all the enormous logistics and grueling schedule, I had the pleasure of mixing for 23 of the hottest acts on the planet. This was a big moment for them, too. Nobody phones it in for the GRAMMYs."
(Claire Beeson)
