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A. The Stage is wide enough to act as two stages (left and right) so that one side can be set up/
struck while the other hosts a live performance.
B. Stage platforms on wheels allow bands
to have individual rigs set up and ready to
go. They are wheeled on stage and locked
together for a performance, then unlocked and
wheeled off afterwards. Each stage platform
houses a mini snake that can route all the musician’s signals to the boards via one connection.
C. This ramp is a high traffic area during the
broadcast, with stage platforms full of backline gear and sets being wheeled on and off
after each performance.
D. Splitsville is where transformer splits send
audio signals from the stage platforms to
4 places: FOH, the monitor mixing station
(not pictured), the mixing trucks outside the
Staples Center, and the broadcast mixing
board (as a backup). The signals for the mix-
ing trucks are converted to digital and sent
via fiber optic lines.
E. Two audio mixing trucks outside the
Staples Center, operated by co-music mix-
ers Eric Schilling and John Harris, are used
to mix the audio for the performances. Both
are equipped with identical Digidesign ICON
boards so that presets for each channel of
audio for each act can be dialed up immedi-
ately. The signals from these trucks is sent to
the broadcast mixing board.
F. A broadcast mixing board, operated
by Tom Holmes, combines lines from the
music mix with other presentation elements
like presenter mics, video playback, and
audience hot spots into the broadcast’s 5. 1
surround sound mix. Broadcast audio super-
visor Phil Ramone is stationed in this truck,
too. The other half of this truck houses the
broadcast’s video team.
G. The graphics team is housed in this truck.
Broadcast graphics include nominee and
