Super Bowl LVIII headed to Allegiant Stadium, the game's first stop in Las Vegas in NFL history. The bright lights and big city of Las Vegas presents an already crowded wireless radio frequency (RF) environment, so managing the immense production—from the Halftime Show to the game itself—presented a new challenge that was solved by the Shure Axient Digital Wireless Microphone System.
The team included broadcast mixer Tom Holmes, entertainment front of house mixer Alex Gussard, entertainment front of house music sixer Dave Natale, monitor mixer Tom Pesa, lead RF engineer Cameron Stuckey, and RF techs Gary Trenda and Kasey Gchachu. The RF team lead for CP Communications was Loren Sherman. The production was made possible by a hardworking crew of A2s.
“Axient Digital is the key to the Halftime Show,” shared 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.”
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The RF team depended on ten AD4Q Four-Channel Digital Wireless Receivers, an AD600 Axient Digital Spectrum Manager, and two AXT400 Axient Dual Channel Receivers. For another year, ATK used Axient Digital AD4Q with Quadversity, a patented Shure technology, leveraging four simultaneous RF inputs to feed a single RF channel. Quadversity can extend the coverage area of a microphone channel or enable multiple coverage areas with additional antenna inputs, making it ideal for challenging RF environments like Las Vegas.
ATK Audiotek and Professional Wireless Systems (PWS) handled all wireless microphones and IEM systems for the pre-game entertainment, halftime entertainment, and referees. This is the 27th year PWS has served as ATK’s wireless partner at the big game.
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 Systems that were used for the pre-half and post-game studio shows as well as in game reports from the sidelines. Mason also made a point to note that Shure equipment was not only present for the big game, but for studio shows around Las Vegas during pre-week as well the Opening Night, Red Carpet, and Honors shows.
“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,” shared Mason. “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,” shared 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.”
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Days before the game, football players joined GRAMMY award-winning musical artists to share uplifting music and inspirational messages during the Super Bowl Soulful Celebration. All performers at this event were equipped with Shure KSM8 microphones.
“I loved using the Shure KSM8 capsule on all of the vocal mics for this year’s Super Bowl Soulful Celebration,” shared Larry Reed, A1 Audio Mixer. “I especially like it for its crisp top end and its off-axis rejection around a loud house band. I was able to use it on Kirk Franklin, Mary Mary, Rachel Platten, Robyn Thicke, Mickey Guyton, and Earth, Wind & Fire. The KSM8 is my go-to capsule for vocals.”
During the TikTok Tailgate event, Gwen Stefani took to the stage with an Axient Digital transmitter outfitted with a patented, new Shure microphone technology.
Before kickoff, Reba McEntire trusted Shure Axient Digital for her spectacular live performance of “The Star-Spangled Banner.” Reba used a frequency diversity handheld microphone transmitter outfitted with a nickel-plated KSM11 capsule. The accompanying drumline was also relying on Axient Digital transmitters.
“Shure KSM series capsules are perfect for every type of singer, and for me, the KSM9 and KSM11 are my go-to favorites for wireless vocals. Clear, crisp, and just the right amount of rejection without getting too 'spitty' sounding,” shared Tom Holmes, Broadcast Mixer. “They [Shure] have a great range of mics suitable for every application.”
Andra Day’s rendition of “Lift Every Voice and Sing” was performed on Shure Axient Digital Frequency Diverse (FD) wireless transmitters. Also, Cameron Heyward of the Pittsburgh Steelers accepted the Walter Payton Man of the Year award with an Axient Digital transmitter and KSM9 microphone capsule.
Every handheld transmitter on stage during the Halftime Show was Axient Digital (ADX2 / ADX2FD) and nearly every performer featured new, patented Shure microphone technology. For headsets, multiple artists used Axient AXT100 bodypacks. One of these artists was H.E.R., who used AXT100 for her headset and guitar. She also relied on a new Shure microphone technology for her jaw-dropping on-stage appearance.
For another year, referees used two Axient Digital ADX1 bodypack transmitters working together in Frequency Diversity mode and paired with Shure’s premium subminiature TL47 model TwinPlex omnidirectional lavalier microphones. While omnidirectional lavaliers are typically used in controlled audio environments like theaters, TwinPlex was uniquely suited for this stadium application, given the lavalier microphone’s ultra-pristine, natural response, and off-axis consistency.
Meanwhile, the CBS broadcast relied on ADX2 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.”
