Live Media MU-5 mobile production truck interior monitor wall

Mobile Unit Snapshot: MU-5 (Aspen) 45′ 3G Single-Expando Production Truck

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MU-5 is a 45-foot-class 3G single-expando mobile production truck in the Live Media Group fleet, built around a 4 M/E Grass Valley K-Frame X switcher, a Grass Valley Sirius 840 router under EVS Cerebrum control, a 56-fader Calrec Artemis Beam audio console, and eight Sony HDC-3500 HDR cameras. Previously known as Aspen during its Gravity Media service, it joined Live Media Group in August 2026. It carries 56 wired channels of EVS replay — a complement most trucks twice its size would be glad to claim — inside a 60′ × 22′ working footprint that fits venues a full-size expando cannot.

For producers who need big-truck switching, routing, and replay density without booking a 53-footer, MU-5 is the fleet’s answer. Here is what is inside, system by system.

What runs the show: switching

MU-5’s production switcher is a Grass Valley K-Frame X 3G frame with a Kayenne 4-stripe, 35-button control panel, configured for 4 M/Es with 64 inputs and 32 outputs. FlexiKey, DoubleTake, and chroma key are all licensed, so a TD can split M/Es across pre-shows, inserts, and secondary feeds without giving up the main program bus.

Replay: 56 wired EVS channels on a 45-foot truck

MU-5 carries four EVS XTVia LSM 12-channel replay servers with dual-user operation, plus an EVS XS3 six-channel spot server with a Lance controller, and the truck is wired for 56 channels of EVS. That density is the truck’s signature: multi-angle replay, melts, and spot playback for a replay-heavy show, handled onboard rather than farmed out to a B-unit.

Routing and control

Routing is a Grass Valley Sirius 840 at 384×288 under an EVS Cerebrum control system, with 46 3G framesyncs, 336×60 of multiviewer capacity, and 768×1536 of MADI audio routing. Cerebrum — EVS’s broadcast control and orchestration platform — gives engineering one control layer over the router, syncs, and multiviewers, which shortens setup on show day and makes source management legible to a visiting EIC.

Cameras: Sony HDC-3500 HDR 

MU-5 fields eight Sony HDC-3500 cameras with HDR and QFR (quick frame rate) licensing, and the truck is wired for 16 CCUs. Four Sony HDLA-3505 large-lens adaptors put box lenses on hard positions, with Vinten Vector 750 heads and V20 pan heads with tripods in the support package. The HDC-3500’s native 4K sensor block means clean HD and 1080p HDR today with headroom for UHD-capable workflows as shows call for them.

Audio: Calrec Artemis Beam

The audio room is built on a Calrec Artemis Beam digital surround console with 56 faders and 12 dual-fader layers, carrying 564 DSP processing paths and 340 input channels. Console I/O spans analog, AES, MADI, and Dante (48×48 analog, 64×64 AES, 640×640 MADI, and 120×120 Dante per the truck’s published I/O), so venue feeds, RF mics, comms mix-minuses, and record splits all land without adapters and workarounds.

Comms

Intercom is a 256×256 RTS Adam II matrix with 18 RTS DBP Omneo digital beltpacks and eight Glensound Dante IFB beltpacks, supported by Beyerdynamic DT-108 and DT-109 headsets. That is matrix capacity for a full crew plus talent IFB on a mid-size show, with digital beltpacks that ride the truck’s existing Dante and Omneo infrastructure.

Power and footprint

MU-5 needs three-phase, 190–240-volt, 200-amp service and travels with 200 feet of feeder cable. The box is 43′ long by 8′6″ wide at 13′6″ tall, expanding to a 60′ × 22′ working footprint — compact enough for tight compounds, big enough inside for a full production, audio, and replay crew.

Specifications at a glance

Class45′ 3G single expando (43′L × 8′6″W × 13′6″H box; 60′ × 22′ working footprint)SwitcherGrass Valley K-Frame X 3G · Kayenne 4-stripe/35-button panel · 4 M/E · 64×32 · FlexiKey, DoubleTake, chroma keyReplay4× EVS XTVia LSM 12-ch (dual user) + EVS XS3 6-ch spot w/ Lance · wired for 56 EVS channelsRouterGrass Valley Sirius 840 (384×288) · EVS Cerebrum control · 46 3G framesyncs · 336×60 multiview · 768×1536 MADICameras8× Sony HDC-3500 HDR w/ QFR · wired for 16 CCUs · 4× HDLA-3505 large-lens adaptorsAudioCalrec Artemis Beam · 56 faders, 12 dual layers · 564 DSP paths / 340 input channels · analog, AES, MADI, Dante I/OCommsRTS Adam II 256×256 · 18× RTS DBP Omneo beltpacks · 8× Glensound Dante IFBPowerThree-phase 190–240 V, 200 A · 200′ feeder cable

Where MU-5 fits in the fleet

MU-5 slots into the fleet’s mid-size class with a heavyweight toolset. Its acquisition siblings bracket it: MU-17 steps up to a 53′ 3G HDR expando with five M/Es and RF camera capability, while MU-26 matches the mid-size class with a nine-camera Sony HDC-4300 package. The rest of the group’s mobile units — from 20′ production/uplink hybrids to 53′ double expandos — are on the complete fleet page. For a deeper look at a home-grown unit in the same weight class, see the MU-15 Mobile Unit Snapshot.

What MU-5 is built for

  • Professional and collegiate sports where replay depth decides the show — 56 wired EVS channels handle multi-angle coverage without a support unit.
  • Entertainment specials and awards-style broadcasts that need 4 M/Es of switching and a 56-fader audio room in a venue with a tight compound.
  • Multi-day tournament and event coverage, where the 60′ × 22′ footprint and 200-amp service simplify siting and power planning.
  • Shows feeding multiple destinations, using the Sirius 840’s 384×288 routing and 336×60 multiview to manage outputs cleanly.

FAQ

What is MU-5?

MU-5 is a 45-foot-class 3G single-expando mobile production truck in the Live Media Group fleet, carrying a 4 M/E Grass Valley K-Frame X switcher, 56 wired EVS replay channels, a Calrec Artemis Beam console, and eight Sony HDC-3500 HDR cameras.

Is MU-5 the truck previously known as Aspen?

Yes — MU-5 operated as Aspen in Gravity Media’s U.S. fleet before joining Live Media Group in the August 2026 acquisition; it now carries the MU-5 designation.

How many cameras does MU-5 support?

MU-5 carries eight Sony HDC-3500 HDR cameras with QFR licensing and is wired for 16 CCUs, with four large-lens adaptors for box-lens positions.

What replay capability does MU-5 have?

MU-5 is wired for 56 channels of EVS, served by four XTVia LSM 12-channel servers with dual-user operation and a six-channel XS3 spot server with a Lance controller.

Is MU-5 an HDR truck?

Yes — MU-5 is a 3G truck with HDR-licensed Sony HDC-3500 cameras, supporting 1080p HDR production workflows end to end.

How do I book MU-5?

Contact Live Media Group at solutions@livemediagroup.com or 833.933.5483 with your venue, dates, feed count, and destination platforms, and the team will confirm availability and configuration.

Book the truck

If your next production needs big-truck replay and switching in a mid-size footprint, MU-5 delivers. Download the current spec sheet on the MU-5 truck page, or reach the solutions team directly at solutions@livemediagroup.com / 833.933.5483.

Mobile Unit Snapshot: MU-17 53′ 3G HDR Single-Expando Production Truck

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MU-17 is a 53-foot 3G HDR single-expando mobile production truck in the Live Media Group fleet, built around a five-M/E Grass Valley Kayenne switcher with 128 inputs, an Imagine Platinum IP3 router at 476×448 under Lawo VSM control, a 64-fader Calrec Artemis Ray audio console, and eight Sony HDC-3500 HDR cameras with the truck wired for 20 CCUs. Previously known as Columbus during its Gravity Media service, it joined Live Media Group in August 2026 as the largest of the three premium trucks in that acquisition — the one built for shows that need everything at once: wireless cameras, deep replay, a big comms plant, and a 70′ × 25′ working footprint to put a full crew inside.

When the show is a marquee — multiple RF cameras roaming, 56 channels of EVS wired, fifty wireless beltpacks in the compound — this is the truck the schedule is built around. Here is what is inside.

Previously known as Columbus

MU-17 joined Live Media Group in August 2026 as part of the company’s acquisition of Gravity Media’s U.S. mobile-production assets — eight units, led by the premium trucks then named Columbus, Whiskey, and Aspen, together with Gravity’s U.S. engineering team and long-term contracts with major U.S. broadcast partners.

Those three trucks now carry Live Media Group designations — MU-17, MU-26, and MU-5. “These additional assets immediately provide us with greater scheduling flexibility while allowing us to support more clients,” said Michael Sullivan, President of Live Media, in the acquisition announcement. MU-17 is the reason that sentence is not just fleet math: a 53-foot premium unit adds top-end capacity in the class clients compete for.

Switching: five M/Es, 128 inputs

MU-17 carries a Grass Valley Kayenne UHD/3G production switcher configured for 5 M/Es, 128 inputs, and 64 outputs, with FlexiKey, DoubleTake, and chroma key licensed. Five M/Es means the TD can hold program, screens, pre-show, and an alternate feed on dedicated banks — the switching architecture large-format sports and entertainment shows assume.

Replay and record: wired for 56 EVS channels, 18 recorders

MU-17 runs four EVS XTVia LSM 12-channel replay servers, is wired for 56 channels of EVS, and carries 18 VTR/SSD record positions. That combination covers the replay room and the record wall in one truck: multi-angle LSM coverage for the show, plus isolated records, melts, and deliverables rolling in parallel.

Routing: Platinum IP3 at 476×448 under VSM control

Routing is an Imagine Platinum IP3 at 476×448 controlled by a Lawo VSM system, with 46 3G framesyncs and 272×48 of multiviewer capacity. Nearly five hundred crosspoints of routing is what lets a show this size absorb late adds — an extra feed, another iso, one more monitor — without re-engineering the truck mid-week.

Cameras: HDR chains, wired for 20 CCUs, RF-ready

MU-17 fields eight Sony HDC-3500 HDR cameras with QFR licensing, is wired for 20 CCUs (16 in UHD workflows), and supports up to six RF cameras from a 50-foot mast. The RF provision is the differentiator: integrated wireless camera support with mast-mounted reception, ready for course, field, and crowd coverage that cabled positions cannot reach. Glass includes Fujinon lenses with large-format adaptors in the support package.

Audio: Calrec Artemis Ray

The audio room is a Calrec Artemis Ray digital surround console with 64 faders and 12 dual-fader layers, supported by Trigger audio playback software. Analog, AES, MADI, and Dante I/O (120×120 analog, 128×128 AES, 640×640 MADI, and 128×128 Dante per the truck’s published I/O) give A1s the plant to land venue splits, RF mics, and mix-minuses at full-show scale.

Comms: a 320×320 matrix and fifty wireless packs

Intercom is a 320×320 RTS Adam II matrix paired with a Clear-Com Eclipse HX-Delta frame supporting up to fifty 1.9 GHz wireless beltpacks. Fifty wireless packs is compound-scale comms — stage managers, spotters, utilities, and RF camera operators all on coordinated wireless without renting a supplemental system.

Power and footprint

MU-17 needs three-phase, 190–240-volt, 200-amp service and travels with 200 feet of feeder cable. The trailer is 53′ long by 8′6″ wide, expanding to a 70′ × 25′ working footprint — a full-size production floor with seating for the crew complement a five-M/E show actually carries.

Specifications at a glance

Class 53′ 3G HDR single expando (53′L × 8′6″W; 70′ × 25′ working footprint)
Switcher Grass Valley Kayenne UHD/3G · 5 M/E · 128 in / 64 out · FlexiKey, DoubleTake, chroma key
Replay / record 4× EVS XTVia LSM 12-ch · wired for 56 EVS channels · 18 VTR/SSD recorders
Router Imagine Platinum IP3 (476×448) · Lawo VSM control · 46 3G framesyncs · 272×48 multiview
Cameras 8× Sony HDC-3500 HDR w/ QFR · wired for 20 CCUs (16 UHD) · up to 6 RF cameras · 50′ mast
Audio Calrec Artemis Ray · 64 faders, 12 dual layers · Trigger playback · analog/AES/MADI/Dante I/O
Comms RTS Adam II 320×320 · Clear-Com Eclipse HX-Delta · up to 50× 1.9 GHz wireless beltpacks
Power Three-phase 190–240 V, 200 A · 200′ feeder cable

Where MU-17 fits in the fleet

MU-17 is the top end of the August 2026 additions. Its siblings cover the classes below it: MU-5 brings 56 wired EVS channels to the 45′ class, and MU-26 packs nine Sony HDC-4300s into a 43′ expando. Around them sits the group’s full fleet of mobile units — see the complete fleet page — plus fly packs, uplink, and the Nashville control rooms for REMI and hybrid workflows.

What MU-17 is built for

  • Marquee sports coverage where RF cameras are part of the format — up to six wireless chains from a 50′ mast, integrated rather than bolted on.
  • Large entertainment and special-event broadcasts that need five M/Es, a 64-fader audio room, and compound-scale comms.
  • Record-heavy productions: 18 VTR/SSD positions rolling isos and deliverables alongside 56 wired channels of EVS.
  • Multi-feed shows using the Platinum IP3’s 476×448 routing to serve broadcast, streaming, and venue outputs simultaneously.

FAQ

What is MU-17?

MU-17 is a 53-foot 3G HDR single-expando mobile production truck in the Live Media Group fleet, carrying five M/Es of Grass Valley Kayenne switching, 476×448 Imagine Platinum IP3 routing under Lawo VSM control, a 64-fader Calrec Artemis Ray console, and eight Sony HDC-3500 HDR cameras with chains wired for 20 CCUs.

Is MU-17 the truck previously known as Columbus?

Yes — MU-17 operated as Columbus in Gravity Media’s U.S. fleet before joining Live Media Group in the August 2026 acquisition; it now carries the MU-17 designation.

Can MU-17 handle wireless cameras?

Yes — MU-17 supports up to six RF cameras with reception from a 50-foot mast, alongside its wired complement of up to 20 CCUs.

What replay and record capacity does MU-17 carry?

MU-17 is wired for 56 channels of EVS, runs four XTVia LSM 12-channel servers, and adds 18 VTR/SSD record positions for isos and deliverables.

How big is the working footprint?

Expanded, MU-17 gives the production a 70′ × 25′ working footprint from a 53′ trailer, on standard three-phase 200-amp service.

How do I book MU-17?

Contact Live Media Group at solutions@livemediagroup.com or 833.933.5483 with your venue, dates, feed count, and destination platforms, and the team will confirm availability and configuration.

Book the truck

For the shows that need everything at once, MU-17 is the answer. Download the current spec sheet on the MU-17 truck page, or reach the solutions team at solutions@livemediagroup.com / 833.933.5483.

Floor plan of a mobile production trailer showing Audio, REMI/Truck Storage, REMI Client Space, and Engineering areas with stairs at both ends.

Mobile Unit Snapshot: MU-26 (Whiskey) 43′ 3G Single-Expando Production Truck

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MU-26 is a 43-foot 3G single-expando mobile production truck in the Live Media Group fleet, carrying nine Sony HDC-4300 cameras, a five-M/E Grass Valley K-Frame switcher, a Calrec Brio digital audio console, and Ross NK routing with an HDR-capable AJA framesync chain. Previously known as Whiskey during its Gravity Media service, it joined Live Media Group in August 2026 as the agile mid-sizer of that acquisition: a nine-camera show in a 60′ × 22′ footprint, with the kind of telco-rich comms plant that interview and call-in formats depend on.

Not every show needs a 53-footer — but every show needs the truck to arrive, expand, and be ready fast. MU-26 is built for exactly that. Here is what is inside.

Previously known as Whiskey

MU-26 joined Live Media Group in August 2026 through the company’s acquisition of Gravity Media’s U.S. mobile-production assets — eight units, led by the premium trucks then named Columbus, Whiskey, and Aspen, plus Gravity’s U.S. engineering personnel and long-term contracts with major U.S. broadcast partners.

Cameras: nine Sony HDC-4300s

MU-26 fields nine Sony HDC-4300 cameras and is wired for 12 CCUs, with six Sony HDLA large-lens adaptors, six Canon 90× box lenses, and Canon 22× and 14× ENG glass in the package. The HDC-4300’s 4K sensor block gives the truck UHD-HDR-capable acquisition in a 3G production environment, and the lens mix — box glass for hard positions, ENG zooms for handhelds — covers arena and stage layouts without rentals. Support includes seven Vinten Vector 700 heads and four Sachtler Video 20s.

Switching

MU-26’s production switcher is a Grass Valley K-Frame configured for 5 M/Es with 64 inputs and 48 outputs. Five M/Es in a 43-foot truck is the difference between a mid-size unit that runs one look and one that holds program, screens, and an alternate feed at the same time.

Routing and signal processing

Routing is a Ross NK 3G video router at 128×144, backed by a Blackmagic Design 3G Videohub at 72×144, with a framesync package of eight AJA FS2s, three FS4s, and four HDR framesync/converter units (listed as FS4HDR on the sheet). The HDR units matter: onboard HDR conversion and processing for mixed-format sources, so an HDR show does not stall on a legacy feed.

Audio: Calrec Brio

The audio position is a Calrec Brio digital surround console carrying 24×16 analog I/O with UPS backup, a Calrec Hydra 24×8 analog stagebox, 192×192 MADI across three cards, and 32×32 Dante channels. That is a compact console with a serious plant behind it — MADI capacity for full-show splits and Dante for the networked sources modern venues hand you.

Comms: built for talkback-heavy formats

Intercom is a 128×128 RTS Adam matrix with 16 Omneo and RVON channels plus 48 MADI channels, eight RTS 4030 IFB beltpacks, eight RTS DBP-325 intercom beltpacks, six Telos One telephone hybrids, and two RTS telephone interfaces. Six telco hybrids is an unusual amount of phone I/O for a truck this size — call-ins, remote guests, and two-way interview formats land cleanly without outboard boxes.

Power and footprint

MU-26 needs three-phase, 190–240-volt, 200-amp service and travels with 200 feet of feeder cable. The trailer is 43′ long by 8′6″ wide, expanding to a 60′ × 22′ working footprint — quick to site, quick to power, quick to open.

Specifications at a glance

Class 43′ 3G single expando (43′L × 8′6″W; 60′ × 22′ working footprint)
Cameras 9× Sony HDC-4300 (UHD-HDR-capable) · wired for 12 CCUs · 6× HDLA adaptors · Canon 90×/22×/14× glass
Switcher Grass Valley K-Frame · 5 M/E · 64 in / 48 out
Router Ross NK 3G 128×144 + Blackmagic 3G Videohub 72×144
Framesyncs 8× AJA FS2 · 3× FS4 · 4× FS4HDR (see validation note 6)
Audio Calrec Brio · 24×16 analog w/ UPS · Hydra 24×8 · 192×192 MADI · 32×32 Dante
Comms RTS Adam 128×128 (Omneo/RVON + 48 MADI ch) · 8× IFB + 8× DBP-325 packs · 6× Telos One hybrids
Power Three-phase 190–240 V, 200 A · 200′ feeder cable

Where MU-26 fits in the fleet

MU-26 covers the mid-size class alongside MU-5, whose 56 wired EVS channels make it the replay-heavy pick, while MU-17 takes the marquee shows above them both. The group’s full range — from 20′ production/uplink hybrids to 53′ double expandos, plus fly packs and the Nashville control rooms — is on the complete fleet page.

What MU-26 is built for

  • Arena and collegiate sports where nine cameras and five M/Es cover the venue without oversizing the compound.
  • Regional professional coverage on tight turnarounds — a 60′ × 22′ footprint and standard 200-amp service make siting straightforward almost anywhere.
  • Concerts and entertainment broadcasts using the box-plus-ENG lens mix for stage and audience coverage.
  • Interview, call-in, and studio-style formats that lean on the six-hybrid telco plant and IFB-rich comms.

FAQ

What is MU-26?

MU-26 is a 43-foot 3G single-expando mobile production truck in the Live Media Group fleet, carrying nine Sony HDC-4300 cameras, five M/Es of Grass Valley K-Frame switching, Ross NK routing, and a Calrec Brio audio console.

Is MU-26 the truck previously known as Whiskey?

Yes — MU-26 operated as Whiskey in Gravity Media’s U.S. fleet before joining Live Media Group in the August 2026 acquisition; it now carries the MU-26 designation.

What cameras does MU-26 carry?

Nine Sony HDC-4300s — a UHD-HDR-capable camera family — wired for 12 CCUs, with six large-lens adaptors, six Canon 90× box lenses, and ENG zooms for handheld positions.

Is MU-26 HDR-capable?

Yes — MU-26 pairs UHD-HDR-capable HDC-4300 camera chains with four AJA HDR framesync/converter units for HDR conversion and mixed-format handling in a 3G production environment.

What size shows suit MU-26?

MU-26 is built for mid-size productions — arena sports, college coverage, concerts, and studio-style shows — where a nine-camera complement and a 60′ × 22′ footprint fit the venue better than a full-size expando.

How do I book MU-26?

Contact Live Media Group at solutions@livemediagroup.com or 833.933.5483 with your venue, dates, feed count, and destination platforms, and the team will confirm availability and configuration.

Book the truck

If your next show fits the mid-size class, MU-26 brings premium-truck discipline to it. Download the current spec sheet on the MU-26 truck page, or reach the solutions team at solutions@livemediagroup.com / 833.933.5483.