The Apple Music Super Bowl LVIII Halftime Show performance by Usher at the Allegiant Stadium in Las Vegas, Nevada, in February was a spectacle to rival the game itself. Broadcast to 123.4m viewers, its was ATK Audiotek – live-sound provider for the Super Bowl for the past 27 consecutive years – delivered the live sound to around 61 thousand sports using an all-digital audio signal path using components from Focusrite’s RedNet range of Dante-networked audio converters and interfaces.

‘This is our ninth year using Focusrite RedNet with our Dante Audio-over IP network at the Super Bowl,’ says ATK/Clair Engineer-in-Charge, Kirk Powell. ‘This year we are employing over 100 RedNet units, which is the largest Focusrite setup used on a Super Bowl to date.’

Once again ATK was responsible for all the audio in the stadium, including the pre-game performances that featured Reba McEntire (who performed the national anthem), Post Malone and Andra Day; the halftime show with Usher and special guests Alicia Keys, HER, Jermaine Dupri, Ludacris, Lil Jon, will.i.am; and announcements throughout the game.

‘Each year, the Super Bowl presents an immense logistical hurdle which involves handling a multitude of diverse audio sources and routing them to various destinations,’ Powell says. ‘Using Focusrite RedNet components is indispensable for our operations, as they provide the connectivity and versatility necessary for us to execute our tasks effectively.’

ATK Audiotek’s Focusrite set-up for Super Bowl LVIII included 25 RedNet D16R MkII 16-channel AES3 I/O interfaces; 35 RedNet A16R MkII 16-channel analogue I/O interfaces; 25 RedNet D64R 64-channel Madi bridges; 12 RedNet MP8R 8-channel remote-controlled mic preamps; and eight RedNet AM2 stereo audio monitoring units – a grand total of 105 RedNet units.

During Super Bowl LVIII, A16R units provided connectivity across diverse interfaces managed by the venue and other parties, while D16R units linked with amplifiers. RedNet D64R Madi bridges were used to connect with consoles and broadcast trucks.

The RedNet D64R combines a generous channel capacity with the capability to convert sample rates across different audio systems at a multitrack level, ensuring seamless inter-system audio transfer and sharing without relying on a common master reference clock. According to Powell, while the FOH and stage monitors could synchronise to the same clock, there’s a distinction with the production truck.

‘The D64R enables me to separate the clock between my system and the production truck, especially as they wrap up after halftime,’ he explains. ‘As they begin to dismantle, I prefer not to be synchronised to their clock to avoid any premature shutdowns. We are also using the D16Rs and A16Rs because we’re doing analogue backup as the interface for the system’s amplifiers.’

And the most challenging aspect of designing and installing the audio system? ‘Flying the PA,’ Powell says. ‘Allegiant Stadium’s ceiling structure is cable-based, just like SoFi Stadium, which restricts options for placing clusters and similar components due to weight restrictions and rigging points. Managing rigging and cables presented challenges, as did determining optimal amplifier placement. We had to compromise on a few positions, but the system worked out really well. Also, with renowned mixers Dave Natale and Alex Guessard handling FOH duties, the audio for the performances sounded great.’

Focusrite equipment has been instrumental in ATK/Clair finding their rhythm for this annual occasion. ‘While the venue’s routing may vary, we’ve established a consistent setup, with RedNet playing a significant role,’ Powell says. ‘In such a large-scale event, reliability is paramount, and RedNet ensures the smooth operation of our network.’

Super Bowl Wireless Set-up

The crowded wireless radio frequency (RF) environment at the Allegiant Stadium presented a new challenge to the ATK team, which they addressed through the use of Shure’s Axient Digital Wireless Microphone System. As in previous years, ATK Audiotek and Professional Wireless Systems (PWS) handled all wireless microphones and IEM systems for the pre-game entertainment, halftime entertainment, and referees.

‘Axient Digital is the key to the Halftime Show,’ says ATK 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 deployed ten AD4Q Four-Channel Digital Wireless Receivers, an AD600 Axient Digital Spectrum Manager, and two AXT400 Axient Dual Channel Receivers – Quadversity supporting four simultaneous RF inputs to feed a single RF channel and extending the coverage area of a microphone channel or enabling multiple coverage areas with additional antenna inputs.

The event used 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. Michael Mason, President of CP Communications, points out that that Shure equipment was also used 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,’ 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,’ says Monitor Mixer Tom 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 using 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.’

Reba McEntire used Axient Digital for her performance, a frequency diversity handheld microphone transmitter fitted with a nickel-plated KSM11 capsule. The accompanying drumline also used 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,’ says Broadcast Mixer Tom Holmes. ‘They [Shure] have a great range of mics suitable for every application.’

Every handheld transmitter on stage during the Halftime Show was Axient Digital (ADX2/ADX2FD) and nearly every performer featured new Shure microphone technology. For headsets, multiple artists used Axient AXT100 bodypacks. HER used AXT100 for her headset and guitar, and a new Shure mic.

For another year, referees used two Axient Digital ADX1 bodypack transmitters working together in Frequency Diversity mode and paired with Shure’s subminiature TL47 model TwinPlex omnidirectional lavalier microphones. 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,’ says 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 honoured to be a part of it and grateful for the trust of the many amazing professionals who make it work each year.’