Audio-Technica provides over 150 mics for the live broadcast of the 53rd Annual GRAMMY® Awards, as A-T maintains its definitive presence at high-profile awards shows.
Photo Caption 1: Barbra Streisand performs her classic “Evergreen” at the 53rd Annual GRAMMYs using a hard-wired AE5400 Cardioid Condenser Handheld Microphone. Photo by Lester Cohen/WireImage.com (This photo is the property of Lester Cohen/WireImage. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)
Photo Caption 2: Bruno Mars performs at the 53rd Annual GRAMMYs, held February 13, 2011, using Audio-Technica’s Artist Elite 5000 Series UHF Wireless System with the AEW-T5400 Cardioid Condenser Microphone/Transmitter. Photo by Larry Busacca/Getty Image (This photo is the property of Larry Busacca/Getty Image. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)
Audio-Technica supplied more than 150 microphones for the live broadcast of the 53rd Annual GRAMMY® Awards held February 13, 2011, at the Staples Center in Los Angeles.
FOH (front-of-house) Engineer Ron Reaves said, “It’s always a pleasure to see Audio-Technica’s team here at the GRAMMYs, to provide both microphones and on-site support. We’ve been using A-T on the show as long as I have been FOH, and most notably the new AT4050ST has proven itself as a great stereo overhead mic. It’s this kind of forward thinking product development that keeps Audio-Technica as one of the premier microphone manufacturers.”
M3’s West Coast-based Engineer-in-Charge, Mark Linett, who operated the offline Horizon remix truck, said, “This is the second year I have been part of the M3 team at the GRAMMYs, and I am glad that Audio-Technica is an intricate part of the show, supplying product and on-site support. Working with the M3 team, I have been exposed to
Artists who performed throughout the evening using Audio-Technica’s Artist Elite 5000 Series UHF Wireless System included Bruno Mars, B.o.B and Janelle Monáe, who shared the stage to perform a medley of their recent hits; Esperanza Spaulding, who played with the 2011 GRAMMY Jazz Band; and Bob Dylan. All performed using AEW-T5400 Cardioid Condenser Microphone/Transmitters for their lead vocals. Dylan shared the stage with folk-rock up-and-comers Avett Brothers and Mumford and Sons, who used hard-wired AE5400s and wireless AEW-T5400s, respectively, in a medley tribute to acoustic music. Barbra Streisand also delivered a breathtaking performance of “Evergreen” using a hard-wired AE5400.
The backline mic complement of A-T wired microphones included AE5400 Cardioid Condenser Handheld Microphone for backing vocals, horns and rotary speaker cabinets (high and low); ATM350 Cardioid Condenser Clip-On Microphone for strings; AE5100 Cardioid Condenser Instrument Microphone for hi hat and ride; AT4050ST Stereo Condenser Microphone for overheads; AT4080 Phantom-powered Bidirectional Ribbon Microphones and AT4050 Multi-Pattern Condenser Microphone for guitar cabinets.
The GRAMMY Awards ceremony itself has garnered widespread notice throughout the years as it continually raises the standard for broadcast entertainment. The EMMY®-winning production was the first major awards show to venture into HDTV and 5.1 surround sound, and it was outfitted with the most advanced tools to ensure the highest fidelity for the evening’s performances. Audio professionals continually select Audio-Technica microphones to achieve exceptional quality amidst the ever-increasing sonic demands of the show’s musical portions. The team working on this year’s GRAMMYs featured many top-tier contributors who returned to ensure the success of this landmark event.
The sound system was provided by ATK AudioTek with FOH (front-of-house) Engineers Ron Reaves and Mikael Stewart, with the house audio supervised by Leslie Ann Jones, a prominent member of the Producers & Engineers Wing® of The Recording Academy®. New Jersey/California-based remote facilities company M3 (Music Mix Mobile) were onsite with their Eclipse and Horizon trucks to create the music mix, facilitated by Broadcast Music Mixers John Harris and Eric Schilling, while Tom Holmes was responsible for the overall broadcast mix. The broadcast audio was supervised by Phil Ramone and Hank Neuberger, also leading members of the P&E Wing. Michael Abbott returned as Audio Coordinator, and M3’s Joel Singer served as Engineer-in-Charge for the Eclipse broadcast mix truck, while M3’s Mark Linett served as Engineer-in-Charge in the offline Horizon remix truck.
For the home audience, CBS once again delivered the most advanced form of HDTV, with 1,080 lines of picture resolution and 5.1-channel surround sound.