The Early Show’s Julie Chen and John Legend onstage.
During Super Bowl week, CBS’ The Early Show visited Miami’s South Beach for a series of live broadcasts. Miami-based Roxy Productions, under the guidance of technical director/partner Ulises Otero, handled sound reinforcement for a performance by five-time Grammy winner John Legend, and the company chose D.A.S. loudspeakers for the event. For Legend’s performance, which was one of only two live music programs that week, Otero and his staff handled both the live sound reinforcement aspects of the event and provided mix stems to the broadcast truck.
“Because of the way the show was subgrouped and mixed down to TV, we were largely responsible for both aspects of the production.” Otero says. “We handled a variety of direct outs and a few subgroups of mixes coming from the band, and ended up with roughly 40-plus inputs to the broadcast truck. We also handled the entire live program with the same set of groups, and this was ultimately brought down to 12 channels.”
Because the audience surrounding the performance area was to number around 300, the equipment had to be unobtrusive. Otero selected D.A.S. Audio CA-28A self-powered, bi-amplified, two-way compact line array elements in tandem with CA-215A mono-amplified arrayable subwoofer, both from the company’s Aero Series catalog.
According to Otero, “We used two CA-215As and four CA-28As per side in their specified format, with the subs on top—all matched up with the built-in crossover. Each loudspeaker group was placed on Genie lifts. This D.A.S. Audio setup solved a lot of potential headaches since everything was self-powered. I had no amp racks or processing that I had to concern myself with, be it monitors or house. Since the entire system is self-contained, we didn’t need to use or adjust any crossover processing, etc., as this is all taken care of by the D.A.S. system. These are huge considerations—especially when time is an important factor.
“We did a technical line check and set up all day Thursday, yet backline didn’t arrive until early the next morning for set up. The band performed elsewhere the night before, so there were a lot of last minute adjustments that needed to occur.”
At front of house, Otero used a Yamaha DM2000 digital mixing console with 48 mic pres and several mirrored outputs to drive both the live mix and the truck inputs. The setup included two Aviom A-16II drive cards, with one card supporting monitor world and all the stage monitors, and the other handling the mirrored outputs at FOH, plus the outputs that went to the truck. This arrangement enabled Otero and his crew to accommodate both the live mix as well as the feeds that were ultimately mixed down to the nationwide stereo TV feed.
Onstage monitoring was provided by a combination of six Shure PM-700 in-ear monitors in tandem with four D.A.S. Audio SML-12As and four D.A.S. Audio Compact 115 stage monitors.