Reba McEntire performs the national anthem prior to Super Bowl LVIII at Allegiant Stadium
USA - For the first time in history, the biggest game in American Football descended upon Las Vegas’ Allegiant Stadium. This presented a massive new challenge: managing the Super Bowl’s immense production in Las Vegas’ already crowded wireless radio frequency (RF) environment.
The production crew tackled this challenge and delivered to all attendees and 202.4m broadcast viewers. For audio, the team relied on the Emmy Award-winning Shure Axient Digital Wireless Microphone System.
“Axient Digital is the key to the Halftime Show,” shared 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.”
The RF team depended on 10 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, 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 suitable 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.
The team included broadcast mixer Tom Holmes, entertainment front of house mixer Alex Gussard, entertainment front of house music mixer 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.
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. Michael 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 Honours 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 Michael. “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 Tom Pesa, monitor mixer. “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.
“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.”
Before kick-off, 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.
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.
“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,” said Nick Wood, senior director, professional audio products, at Shure. “Shure is honuored to be a part of it and grateful for the trust of the many amazing professionals who make it work each year.”

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