The Grammy® Award Show is the largest physical production of an annual awards show.
The Grammy’s were the first high-profile award show seven years ago (2001) to be broadcast in HD/5.1 and, as “Music Biggest Night,” has always set the benchmark by which all other shows are judged.
There will be a total of 21 songs performances with 16 different setups.
Rehearsals, soundcheck and camera blocking with the performers takes four days.
The hand-picked crew for the 52nd Annual Grammy Awards is made up of more than 160 stagehands, 150 technicians, 26 stage managers, and 38 audio engineers and technicians. Several members of The Recording Academy® Producers & Engineers Wing are involved.
It takes 40 riggers approximately seven days to load in and hang all the equipment before rehearsal can begin. Several crews working multiple shifts work 24 hours a day to accomplish the task in the first few days.
One-hundred-thirty tons of lighting, sound and set pieces were hung from the ceiling of Staples Center. It takes more than 300 chain motors to hoist them up and is secured by 260 points on the ceiling. An additional 70 fall protection points.
There is approximately 3,000 feet of trussing.
There are more than 400 computer-controlled lights.
It takes more than 13,000 amps of power to power all the lights, sound and video equipment.
Approximately 4,000 feet of Versa Tube LED video technology is being employed for the first time, creating changing color with moving color patterns, and glowing with dynamic visual effects on the walls of the set; this is the largest amount of Versa Tube ever used on a live awards show.
Eighteen high-definition cameras will be used during the broadcast.
The stage comprises 14 video screens including a massive video wall.
The 52nd Grammy6 Award Telecast is the most complex live audio production in television. All vocals performances are live.
The music mix for broadcast takes two music mixers who are “tag-teaming” to share the load of mixing the 16 live performances across the span of the 3-hour broadcast. All consoles for mixing FOH and broadcast are digitally controlled computer mixing consoles, which allow the mixers to recall the exact settings they did in rehearsals.
A dedicated “mirror image” broadcast truck (Music Mix Mobile West) allows the mixers a new level of rehearsal time so they are completely familiar with each artist’s performance prior to airtime.
The audio system in the house uses 94 speaker cabinets flown from the grid that include a cluster of 12 subs in the middle. This also includes nine delay clusters to get the sound to arrive at the right time for everybody. There is also an additional 14 fill speakers under the stage to cover the first few rows.
The sound system requires 100,000W to power it.
It takes four Yamaha PM1D consoles just for the house sound systems.
The show is only mixed in 5.1 and is folded down to stereo automatically where 5.1 is not available.
More than 450 mics are used for all the different band setups and hosts, including more than 80 wireless microphones.
An array of microphones has been placed around the Staples Center to highlight and capture hot pockets of activity in the audience during performances and awards.