Focusrite has long been a trusted name in audio technology, offering a wide range of interfaces and tools used by recording musicians, producers, podcasters, and engineers around the world. Known for delivering exceptional sonic performance at every price point—especially through its popular Scarlett range—Focusrite is committed to removing technological barriers without compromising quality. That philosophy was on full display during this year’s Coachella and Stagecoach festivals, where the company’s RedNet interfaces played a crucial role behind the scenes.
At the center of it all was American Mobile (AM), a Chicago-based audio production company founded by owner and chief engineer Chris Shepard. AM has been mixing live broadcast audio at both festivals for 18 years, providing pristine sound to streaming audiences across the globe. And increasingly, they’ve relied on Focusrite to make that happen.
“These festivals are some of the most technically demanding broadcast environments we work in all year,” said Shepard. “Each year, the workflow evolves. There’s less analog and more MADI. We have to connect quickly with a variety of artist rigs—especially headliners who bring in their own FOH and monitor consoles. That means being MADI-flexible, and Focusrite is central to that.”
The 2025 edition of Coachella drew an estimated 125,000 attendees and featured over 140 artists, while Stagecoach welcomed around 89,000 fans with a lineup full of big-name headliners and surprise guests. On the broadcast side, the numbers were just as staggering. A statement from the company reveals that “Coachella is by far the most viewed festival broadcast in the world,” with over 800 hours of programming streamed on YouTube across seven channels.
Handling that level of complexity requires a system built for scale. Shepard’s team used Focusrite RedNet D64R MADI interfaces to manage real-time sample rate conversion—a must when artist systems run at 96kHz while the broadcast operates at 48kHz. “The RedNet MADI units are key,” said Shepard. “We’re able to convert on the fly without missing a beat.”
Focusrite’s gear helped AM manage up to 256 channels of live audio capture across multiple rigs. For high-profile acts like Lady Gaga, input counts reached 144 channels, while even smaller stages sometimes pushed the system to capacity. “Even when an artist like Lady Gaga rolls in with 144 inputs, we’re covered—especially once you factor in crowd mics and FOH backups,” Shepard said.
A statement from the company adds that “The RedNet PCIeNX cards have been a game changer,” giving AM the power to handle huge input lists with ultra-low latency. “We used to split inputs up to multiple rigs or make compromises,” Shepard added. “Now, everything connects through one system, and it just works.”
The team also relied on Dante® integration, which made Focusrite a natural fit for their networked workflow. “Our entire input structure is Dante-based and built around Focusrite,” said Shepard. “The ability to control RedNet preamps directly from Pro Tools and save those settings per artist has saved us countless hours—especially when soundchecking multiple artists before the gates open each day.”
Reliability was just as important as flexibility. “We prep and stress-test everything before hitting the desert,” said Shepard. “But if something’s had a rough ride, Focusrite has been fantastic about quick swaps. It’s rugged gear, but even the toughest boxes need a little TLC after fighting heat, dust and miles.”
As festival productions grow more complex each year, Shepard says his team is prepared for whatever comes next, thanks to their trusted Focusrite setup. “With RedNet at the core of our workflow, we’re able to adapt quickly, scale up without compromising quality, and maintain total confidence in the reliability of the system. It’s what allows us to focus on the art—not the limitations of the tech.”
