FerroTV Shows
Is a “Music A2”? Better than an “A1”?
And what’s it like working live events on stage with artists like Tony Bennett and Lady Gaga?
Join Joe & Music A2 Mike Fortunato as he reveals the secret world of a Music A2.
Key Takeaways:
- “In the round” stage setups (stage centered in the arena) add major complexity because you need extra PA and lighting coverage so every section of the audience can see and hear well.
- Front-of-house (FOH) mixing is done from within the crowd, while the monitor console may be moved to a hallway to improve communication and workflow.
- Video systems are a critical coordination tool, including camera feeds that help the monitor engineer communicate with band members during the show.
- Cable management is a safety and logistics priority—runs are planned carefully (often through/under the floor) to avoid tripping hazards.
- Recording live shows (e.g., for DVD releases) requires dedicated audience/orchestra mic setups, including hanging condenser mics and routing everything back to a central recording point.
- Live streaming/broadcast coordination (often with a TV truck) requires a mix that works not just in the venue but also for broadcast, under intense time pressure similar to high-profile events like the Grammys.
