Universal Package
New to the Grammy system this year were Powersoft DIGAM K10 power amplifiers to drive all loudspeakers.
These were divided into a few groups and positioned with companion XTA digital processors relatively close to their loudspeaker groups.
Harmala explains that ATK wanted a universal amp package that has all necessary flexibility and configuration capabilities to operate their loudspeaker packages.
“We’ve have been considering this one-amp-for-all approach for a number of years and we believe that the Powersoft amplifiers were the best choice for many reasons,” he says.
As Fletch and I checked out a bank of the new amplifiers under stage left, he explained the approach. Loosely, the amp pack is comprised of blocks, with each block including three amplifiers.
For a 3-way loudspeaker situation like the Grammys, the first amp in the block drives the low and mid of a loudspeaker, one channel of the second amp drives that loudspeakers highs as well as the lows of another loudspeaker, with the third amp then driving its mids and highs. Simple, elegant, and fast to configure and troubleshoot.
Fletch also pointed out that the K10 amplifiers really cut the bulk and weight factor (1U and just over 25 pounds per unit), and he estimates that the footprint has been cut in half versus what was done previously.
This also makes it much easier to fly the amplification package when desired. “These amps have worked out very well,” he told me. “We’re all quite happy with them here.”
Harmala adds, “Our new approach is now standard for our systems and the feedback from our clients and road engineers are that they not only like the new universal amp packages and the system flexibility, but also the sound. It’s a noticeable improvement over our previous amps.
As we add the DSP cards and Powersoft’s Armonía control software, our systems will be further streamlined and tuned to the VerTec and other loudspeakers in our inventory. This will save us time, headaches and money.”
Yamaha PM1D digital consoles have been a staple of the Grammy Awards live system for a decade now, with two at the house mix position for Ron Reaves and Mikael Stewart and two more for monitors for Tom Pesa and Michael Parker.
That’s just the way all of these veteran engineers like it, both for efficiency as well as familiarity.