Higgs is a big fan of CueMode, a patent-pending feature in the PSM 900’s compact P9R bodypack receiver. “Basically, CueMode lets me hear any monitor mix with a button-push. It saves me so much time and trouble, and really shows this system was designed for monitor engineers.”
Using CueMode, up to 20 mixes can be directly accessed via the up/down buttons on the receiver. The PSM 900 system also features Shure In-Ear Monitor technologies such as variable RF output, digital stereo decoding, Scan and Sync, automatic RF Gain Control, dedicated RF Mute, MixMode capability, and Audio Reference Companding.
All microphones on The Who’s stage were Shure hardwired. Ranging from Roger Daltrey’s classic SM58, wrapped in trademark white gaffer tape for strain relief, to new models like the KSM313 ribbon mic and KSM44 studio condenser on Pete and Simon Townshend’s guitars and Pino Palladino’s bass.
Zak Starkey’s drum kit used the SM91A boundary mic in kick drum, Beta 98s on toms, Beta 56A on snare, KSM137 on hi-hat, and a combination of KSM32s and KSM44s overhead. Backing vocals are by Pete Townshend, Simon Townshend, and John “Rabbit” Bundrick; all sung through Beta 58A microphones.
One burning question often asked after events like the Super Bowl is, “How live was that performance?” The Who’s audio consultant, Bob Pridden, explains. “There is an amazing amount of planning that goes into this. In fact, we were asked to record the medley live in the studio by January 1, so they could plan the timing on the pyro and other production elements.
“I can assure you that every instrument and microphone on stage was live. But the producers have backing tracks in place from our rehearsals last week, because you can’t risk losing a vocal. So the answer is, The Who played their Super Bowl show 100 percent live.”
