Broadcast live from Los Angeles’ Crypto.com Arena for a second consecutive year, the 66th Grammy Awards made extensive use of Shure wireless technology.
To broadcast the audio of music’s biggest night worldwide to a 16.9m viewers, the show called on 28 channels of the Shure Axient Digital Wireless Microphone System and eight channels of Axient Analog. Artists also used Shure PSM 1000 in-ear monitoring systems during their performances, with a total of 190 Shure bodypacks used throughout the evening.
Frequency coordination serves an essential role in managing the staggering amount of wireless used throughout the Grammys. Working in the already frequency-dense downtown Los Angeles, Stephen Vaughn, Soundtronic’s RF Coordinator, oversaw this pivotal function with Axient Digital and, for monitoring, Wireless Workbench.
‘Shure’s Wireless Workbench and Axient Digital prove themselves year after year on the Grammy stage,’ he says. ‘Tools, like Wireless Workbench, give me reliable control and flexibility in LA’s challenging RF environment.’
‘Shure is the gold standard when it comes to microphones. They have proven that in my 20-plus years in the industry,’ says Jamie Pollock, who manned FOH for the show. ‘I use Shure products in the studio, on the road, and at large-scale live events such as the Grammy Awards.’
The night’s crew included Broadcast A1, Tom Holmes, and Music Mixers Eric Schilling and John Harris. FOH was overseen by FOH Production Mixer and ATK Project Manager Jeff Peterson.
Many artists opted to perform with the most storied microphones from the 99-year history of Shure, including the SM58 and 565SD, as well as the company’s latest KSM11.
Dua Lipa kicked off the festivities with a magic act all her own, performing a medley of her songs, including the hit ‘Houdini,’ while singing into a Shure KSM11 mic capsule. Later in the evening, Olivia Rodrigo would also use the KSM11 during the blood-soaked performance of her song, ‘Vampire’.
Performing her Record-of-the-Year-winning song ‘Flowers’, Miley Cyrus clutched a Shure 565SD – which matched her silver-tassel dress and Tina Turner energy. For her ‘Kill-Bill-inspired’ performance, SZA also trusted a classic Shure microphone – the SM58. SZA joined a long tradition of artists who have relied on its iconic sound at the Grammy Awards.
Celebrating the tail-end of their residency at Las Vegas’ Sphere, U2 relied on Shure Axient Analog wireless and SM58 mic capsules.
For the Grammy Awards’ ‘In Memoriam,’ the world was gifted a powerful performance from Jon Baptiste, Annie Lenox, and legends Stevie Wonder and Fantasia, both of whom also trusted SM58 microphones.
Burna Boy took to the stage with a custom red Shure KSM8 alongside 21 Savage and Brandy. Throughout his fourth time hosting the event, Trevor Noah traveled around the stage and audience with a wireless Shure KSM9.
Finally, the, Billy Joel performed his first new single in 30 years, ‘Turn the Lights Back On’, to the awards audience while singing into an SM58.
Each of these performances, also including Billie Eilish, Tracey Chapman, and Luke Combs, were made possible with Shure’s Axient Digital wireless technology, supplied by ATK and Soundtronics. ATK also provided IEMs as well as RF for all microphones.
‘We understand the importance of wireless audio across all types of live events and media production, and appreciate the challenges involved in making the creative vision for a show come to life, or ensuring a presentation goes perfectly,’ says Shure Senior Director for Professional Audio Products, Nick Wood. ‘This has inspired us to continue innovating in core areas such as spectrum efficiency, wireless reliability, and user-centric design. Shure’s commitment to solving these challenges with our customers remains as strong as ever.’
‘At Shure, we develop the innovative technology our customers need to take their creativity to the world’s largest stages. We’re grateful to have our gear deployed by the talented production team and artists who brought the 66th Grammy Awards to life,’ adds Shure Manager of Entertainment Relations, Jenn Liang-Chaboud.
More: www.shure.com
