Slash played through a Marshall Vintage Modern head during his Grammy performance with Jamie Foxx. (Settings: Reverb off, Master Volume 4, Presence 4, Bass 7, Middle 7, Treble 7, Mid Boost engaged, Preamp Volumes: Detail 6, Body 6) He was using the prototype for his new signature Les Paul (not pictured), which is modeled after a ’ 59 LP and has his new Seymour Duncan signature pickups in it.
Green Day and the cast of the musical American Idiot rehearse “ 21
Guns” as Mikael Stewart mixes all of the non-musical audio in the
venue on a Yamaha PM1D console. The PM1D to his right, operated
by Ron Reaves, handles the FOH mix for musical performances. The
house sound system was provided by ATK Audio Tek.
Zac Brown’s Grammy pedalboard boasts a Sennheiser EW 372 G2
wireless, a Boss TU- 2 tuner, a Boss GE- 7 EQ, and an LR Baggs Para
Acoustic DI. Brown also tours with an Avalon U5 DI (not pictured).
Leon Russell joined Brown and his band during their medley of
“America the Beautiful,” “Dixie Lullaby,” and “Chicken Fried.” Brown
played his Taylor NS72ce acoustic with Savarez 520-J high-tension
nylon strings. He uses the GE- 7 as a signal boost for solos.
Dave Bellamy of Soundtronix stands in front of three racks of wireless systems for mics and guitar packs; there were actually four—an
additional rack was brought in to accommodate the multiple vocalists who performed with Green Day. The baking tins are used to
control the wireless signals of the units not in use.
Click here to see an extended photo gallery of the gear and the inner
workings of the 52nd Grammy Awards show.