Being the RF coordinator for a major live broadcast like the Grammy Awards is both an honor and a challenge. Wireless for a production like that is like standing near the edge of a cliff. You don’t want to fall off, so you want to be as far back as you can get.
My job is to do everything I can to keep every wireless microphone channel as safe and reliable as possible. This requires advance planning, the cooperation of several involved departments, and the selection and deployment of the most reliable equipment available.
The Grammy telecast is artist-centric, making every effort to accommodate each performer’s needs within the context of all the unique production numbers they do. That means that most of the wireless microphone choices are determined by endorsements and tour riders. Our job is to make it all work, flawlessly.
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