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Audio-Technica supplied more than 230 microphones to an illustrious sound team as the 45th GRAMMY’s became the first major awards show to be broadcast in HDTV and 5.1 Surround Sound.

03-01-2003 Because broadcaster CBS wanted to deliver the highest form of HDTV — with 1,080 lines of picture resolution and 5.1 channels of CD-quality surround sound — in a number of major markets on its High Definition Television Network, the engineers involved in the musical portion of the broadcast agreed that the microphone selection was critical to the success of the event’s sound. Accordingly, - and for the sixth year in a row – the Grammy Awards ceremony called upon a wide-range of Audio-Technica microphones; AE3000 (rack and floor toms), AT4033 (hi hat), AE2500 (kick), AT4050 (overheads and guitar amps), AE5100 and ATM35 (orchestra), AE5400 (back-up vocals), and AT4053 (acoustic guitars, cellos, and bass). The new Artist Elite® Wireless System was used for front-line vocals on Coldplay, Sheryl Crow, Kid Rock, No Doubt, John Mayer, James Taylor, Dave Grohl (Foo Fighters), Bruce Springsteen, Patti Scialfa, and Steven Van Zandt. Jay Vicari and John Harris were Co-Music Mixers for the ceremony, and Vicari explains the factors that influenced his decision to use Audio-Technica mics. “Of course there are a lot of other microphones that sound great, but they don’t work in almost every application — Audio-Technica does. I use AE3000 on toms, AT4033 on hi-hat, and I’ve been using the new AE2500 dual-element kick drum mic religiously on all the shows I’ve recently mixed. I know I can depend on Audio-Technica and they will sound great.” Harris echoes Vicari’s sentiments: “I’ve been using the AE2500 since it came out, and it was in every kick drum on the GRAMMYs stage. Since you can split the signal from the AE2500, I had it come into the Neve Capricorn Digital console as two separate inputs, which allowed me to copy and link equalizers. I brought the AE2500 in as two separate inputs, balanced them so that the volume and level were about the same and then I linked everything to them. Using this technique, the result is great coherence. The AE2500 is rapidly becoming my new favorite kick drum mic.” The team responsible for this historic broadcast read like a Who’s Who in professional audio: ATK/Audiotek provided the sound system with FOH (front-of-house) Ron Reeves, while the broadcast audio was supervised by the Recording Academy’s Producers & Engineers Wing Chairman Phil Ramone, advisory council member Hank Neuberger, and Murray Allen for Cossette Productions. New York-based 5.1 Sound Designer Randy Ezratty and his Effanel Music mobile remote trucks, with the afore mentioned music mixers John Harris and Jay Vicari, provided the 5.1 and stereo feeds. Additionally, All Mobile’s “Resolution” high-definition production truck with production mixer Ed Greene provided the fiber-optic cable feed for broadcast.