At Super Bowl LVIII, recently held for the first time in Las Vegas at Allegiant Stadium, production partners ATK Audiotek and Professional Wireless Systems (PWS) employed Shure Axient Digital wireless systems in supporting live performances and other game-day activities amidst the city’s crowded radio frequency (RF) environment.
Specifically, the team utilized AD4Q four-channel receivers, an AD600 Axient digital spectrum manager, and two AXT400 Axient dual-channel receivers. The Axient Digital AD4Q is equipped with patented Quadversity technology to leverage four simultaneous RF inputs to feed a single RF channel.
“Axient Digital is the key to the halftime show,” states lead RF engineer Cameron Stuckey. “We are using every feature that sets it apart to the fullest extent possible. And, at this point, it is hard to picture how I would design the wireless system without it. The unmatched coverage Quadversity provides, combined with the reliability of Frequency Diversity, means the team and I can support every artistic decision across an entire football field with confidence in the harshest environment of the year.”
In addition to Stuckey, the team also included broadcast mixer Tom Holmes, entertainment front of house mixer Alex Gussard, entertainment front of house music mixer Dave Natale, monitor mixer Tom Pesa, RF techs Gary Trenda and Kasey Gchachu, and Loren Sherman of CP Communications.
In addition, Michael Mason, president of CP Communications, worked with his team to supply 45 channels of Axient Digital wireless and 14 channels of Shure PSM 1000 in-ear monitoring for the pre-half and post-game studio shows as well as in game reports from the sidelines. “At CP Communications, we continue to rely heavily on the Shure Axient Digital series of microphones and Shure PSM to bring the highest-quality RF experience to our broadcast partners,” he says. “Using the Quadversity option with the Axient Digital Microphones affords us assurances on coverage while the Frequency Diversity option gives us the comfort of protection on the frequency interference front. It was an easy choice of products given our client’s request for coverage of the big game in Las Vegas”
“Shure at the Super Bowl has been a standard for entertainment for many years,” adds Pesa. “Shure began outperforming others years ago on this event, most notably in the wireless in-ear department. Just speaking in terms of the monitor team, there is no room for failure when moments such as the national anthem or the Super Bowl halftime show are being viewed by record-setting audiences worldwide. The standard is Shure PSM 1000 for ears, and, from a sound standpoint, nobody argues about how good they sound and how widely used they are. That acceptance allows our audio team to not worry about trying to make some other product work.
“The programming capability allows for quick preparation for some of the first rehearsals on field as almost 80 in-ear receiver packs are used among principal performers, band, and large core dance groups. Also, as always, cue mode saves the day when quickly bringing a mix to a pack for a choreographer, guest engineer, or producer to hear what any particular artist is hearing.
“Topping it all off in monitor world is the utilization of Wireless Workbench to constantly monitor wireless in-ears as well as all of the Shure microphones to gauge metering, RF status, and an array of other details since the actual RF equipment lives and is managed by the RF team away from monitor mix. All of these Shure products, seamlessly working together, is a massive part of the success of the audio team at the Super Bowl each year.”
Every handheld transmitter on stage during the halftime show was Axient Digital (ADX2/ADX2FD) and nearly every performer utiized patented Shure microphone technology. For headsets, multiple artists used Axient AXT100 bodypacks, including H.E.R., who used AXT100 for her headset and guitar.
The game officials were outfitted with two Axient Digital ADX1 bodypack transmitters working together in Frequency Diversity mode and paired with Shure subminiature TL47 model TwinPlex omnidirectional lavalier microphones. Meanwhile, the CBS broadcast employed oADX2 transmitters and Shure mic flag extenders.
“I always enjoy collaborating with the artist teams who work diligently to find the right technology for talent,” shared Jenn Liang-Chaboud, manager of entertainment relations at Shure. “It’s truly a mutually beneficial relationship. Their insights and feedback help make our products better.”
“From the sounds of the game to the entertainment and everything involved with the broadcast, the Super Bowl is a tour de force of audio production and wireless management,” concludes Nick Wood, senior director, professional audio products at Shure. “Shure is honored to be a part of it and grateful for the trust of the many amazing professionals who make it work each year.”
