CHICAGO—Wireless technology from Shure once again played a critical role at the Super Bowl with its newest innovations with the company’s SM39 headset microphone contributing to the overall success of the production.

In totality, Shure solutions delivered reliable, high-quality audio across every facet of the broadcast, live entertainment and fan experience.

For Super Bowl LX, ATK Audiotek and Professional Wireless Systems (PWS) continued their partnership supporting the NFL’s largest event. It supplied all wireless microphones and in-ear monitoring systems for stadium entertainment, the Apple Music Halftime Show, referees and additional live productions throughout the week leading up to the game.

Throughout the event, the production team relied on Shure Axient digital wireless microphone systems, PSM 1000 advanced in-ear personal monitoring systems, Shure TwinPlex lavaliers and SM39 headset microphones to meet the demands of an extremely dense RF environment.

The wireless infrastructure included AD4Q receivers configured in Quadversity with additional Axient digital receivers supporting entertainment, broadcast and referee communications. Shure Wireless Workbench and Wavetool software tools were used for real-time RF and audio monitoring, ensuring performance integrity throughout the game.

One of the most technically demanding moments of Super Bowl LX came during the Apple Music Halftime Show during which Bad Bunny (Benito Antonio Martínez Ocasio) opted for a Shure headset microphone rather than a traditional handheld.

“When I found out that Bad Bunny wanted to use a headset on the Halftime Show at Super Bowl LX this February, I was pretty apprehensive,” said Tom Holmes, broadcast audio mixer for Super Bowl LX. “For a big show in such a large stadium, and literally tons of speakers on the field, a handheld mic is usually what I want to hear.”

Despite this apprehension, Bad Bunny performed using a Shure SM39 headset microphone paired with an Axient digital ADX1 bodypack transmitter, delivering full vocal power while maintaining hands-free freedom of movement throughout the performance.

“Much to my surprise, this mic was the perfect choice,” said Holmes. “It handled his quite-loud singing voice, no problem. It kept leakage from the field PA to a negligible amount, had little to no popping and delivered really nice sound quality for being in such close proximity to the mouth. This is now my go-to large diaphragm headset mic—tailor-made for hands-free singers in large or small venues. It performs like a champ and stays stable enough to handle anything from climbing telephone poles to diving into a crowd of dancers. Well done, Shure.”

“The SM39 is my go-to headset mic for vocalists,” said Alex Guessard, front of house (FOH) mixer. “It delivers excellent tone, rock-solid mechanical stability and outstanding rejection.”

“We’ve been really happy with the Shure SM39 headset microphone on this tour run. It’s been dependable, comfortable for the artist and delivers a clear and present sound each night,” said Jose Angel Rivera Jr., FOH engineer for Bad Bunny.

All halftime performers relied on Shure PSM 1000 advanced in-ear personal monitoring systems, ensuring clear, consistent mixes in one of the most challenging live audio environments in the world.

Super Bowl LX featured a wide range of artist-specific wireless configurations, including Charlie Puth, who relied on an Axient digital ADX2FD frequency diversity handheld transmitter, with receivers configured in Quadversity. Both Puth and Coco Jones, who performed a stunning rendition of “Lift Every Voice and Sing,” were equipped with Shure PSM 1000 in-ear monitoring systems.

Beyond the halftime show, Van Wagner Sports & Entertainment deployed 16 channels of Axient digital wireless, supported by Shure ANX4 receivers for on-field entertainment and broadcast production.

"Using the ANX4 was a wonderful experience; having access to a wide-band tuning range meant there was never a concern. We could bring one piece of equipment and slot ourselves into the most ideal spot frequency-wise without having to make sacrifices due to device limitations,” said RF technician Matthew Bell. “The flexibility to route every channel to two different Dante outputs internal to the ANX4 meant building out redundant and talkback routes was easier than ever. Finally, the ability to selectively enable Quadversity per-channel is a huge asset in being able to stay flexible and respond to challenges as they arise without impacting the rest of the RF signal chain."

Referees relied upon Axient digital ADX1 bodypack transmitters paired with TwinPlex TL47 lavalier microphones, ensuring intelligible, consistent communication throughout the game. The ADX1 bodypacks leveraged frequency diversity to help maintain uninterrupted audio. Dual TL47 microphones were deployed per referee for redundancy.

Shure wireless also powered the Whatnot livestream, using 16 channels of Axient digital to support live fan engagement during Super Bowl week.

More information is available on the company’s website.

I can still remember the first time I clipped a lavalier microphone on someone for a TV broadcast. It was during my internship at AT&T Corporate Television in 1978, back when razor blades were still used for editing and the smell of hot glue meant progress.

The mic was a Sony ECM-50, a small, rugged piece of engineering that quickly became my favorite. It needed a quirky little “N” battery that you could only find in specialty stores, but it sounded beautiful.

A few months later, I met what felt like pure science fiction: my first professional wireless microphone system. It was a Sony UHF transmitter and receiver paired with that same ECM-50 element, and for the first time, I could capture sound without being chained to a cable. The audio was clear, the signal was stable, and there were no wires to trip over. It just worked.

For a long time, wireless microphones felt like magic. Today, they feel more like triage. The magic has been replaced by management. Behind every concert, broadcast, or corporate event, there’s now a quiet war being fought over invisible real estate: radio spectrum.

The Shrinking Airwaves
Wireless microphones used to have plenty of room to breathe. For decades, most systems operated comfortably within the UHF television range from 470-806 MHz. These frequencies offered the perfect balance of power, antenna size, and propagation. But that was before governments realized the commercial value of those airwaves.

The first big hit came in 2009, when the transition to digital television freed up the 700 MHz band. The Federal Communications Commission auctioned that space to mobile broadband carriers like AT&T and Verizon, shrinking the number of open TV channels available for wireless microphone use. A few years later, it happened again with the 600 MHz band, much of which went to T-Mobile. Each time, the usable spectrum for professional microphones shrank.

While those auctions raised billions of dollars for the U.S. Treasury, none of that windfall ever found its way back to the professional audio community that once depended on those frequencies. Wireless microphone users—from broadcasters to theaters to houses of worship—lost access to critical portions of the spectrum without compensation or assistance to transition. The mobile carriers that won the auctions gained valuable assets, while production teams were left scrambling to replace equipment and redesign systems at their own expense. In effect, it was a one-sided trade: Culture and communication ceded ground so commerce could expand.

What had once been an open field is now a narrow alley. In most major cities, there may be only one or two available TV channels left for unlicensed wireless microphones. The rest belong to high-power mobile networks or other licensed users. As one engineer put it, “It’s like trying to park 50 trucks in a two-car garage.”

Problems and Solutions
I recently sat down with Mike Sinclair, a professional sound designer, to chat about problems and possible solutions. He's worked on everything from live events to concerts to corporate audio and described it bluntly: “You can plan every cue, map every signal path, and test every channel, but if you don’t have enough frequencies to manage the production there’s very little you can do.”

Even when you do find enough open frequencies, it doesn’t mean it will stay quiet. Modern environments are packed with devices that share or spill into the same spectrum. Multiple digital services are now actively competing for what is ultimately the same limited bandwidth.

The problem isn’t just about congestion; it’s about unpredictability. What used to be simple “set and forget” gear now requires active management. Sound engineers who once mixed audio now find themselves either running RF scans, plotting frequency tables, and negotiating for airspace—or spending a boatload of additional cash buying wireless systems that will do the investigating and hopping for you. Every production feels like a temporary truce with chaos.

The answer is often counterintuitive. You might think throwing more power and more money at the problem would make things easier, but in many cases, it doesn’t. As Sinclair told me, when multiple wireless systems have to coexist in tight spaces, very close together—like, for example, Broadway theaters—the solution is precision, not brute force. Engineers have to be surgical, using highly directional antennas and carefully tuned devices that keep their signals tightly contained to avoid interference.

Devices Fight Back
To survive in this new landscape, manufacturers have had to reinvent their technology. Early wireless microphones operated on fixed frequencies. Modern systems can tune across wide ranges, automatically scan for open spectrum, and adjust power output on the fly.

One possible approach could be treating each microphone as a separate radio signal, using one wide channel to transmit dozens of audio streams using time-division multiplexing. In simple terms, it sends tiny slices of each audio channel in rapid succession so that multiple mics can share a single piece of spectrum without stepping on each other. Sennheiser, one of the world’s leading innovators in professional wireless audio, has been at the forefront of developing new spectrum-efficient technologies, such as Wireless Multichannel Audio Systems (WMAS).

Joe Ciaudelli, the company’s director of spectrum and innovation, explained that WMAS technology "occupies a broader bandwidth but transmits multiple audio channels within that space using time-division multiplexing. This design dramatically increases spectral efficiency, enabling dozens of microphones to operate in a single TV channel.”

Solutions like this allow both microphones and in-ear monitors to operate in the same RF channel, dynamically allocating bandwidth based on priority. A lead performer can get full-fidelity, low-latency audio, while a backstage communication channel can tolerate higher latency and lower quality. For large productions, this means far more microphones can coexist peacefully in the same space.

For high-profile events, technology alone isn’t always enough. On-site professional frequency coordination can offer productions peace of mind by managing and accounting for each frequency.

Companies like Professional Wireless Systems (PWS) provide RF management and coordination for various events, including major productions like the Super Bowl Halftime Show. Jim Van Winkle, general manager at PWS, emphasizes that their competitive edge lies in on-site experience. He notes that an experienced RF coordinator is a "game-changer," bringing invaluable knowledge for pre-planning and crucial troubleshooting if issues arise.

For smaller or budget-limited productions, advanced technology safeguards can still help avoid chaos. One such approach uses wireless transmit/receive pairs that continually search for and stand by with clean backup channels. If interference or dropouts are detected on the main channel, the devices automatically switch to that backup while beginning a new search for the next available path.

Another company that has fully embraced the need for adaptability is Wisycom, a manufacturer long respected for its RF engineering in broadcast, live performance, and location sound. Its CEO, Davide Morsiani, said RF coordination has become "one of the biggest challenges in modern production—not because engineers lack skill, but because the spectrum itself is shrinking and unpredictable. Every location behaves differently, and even the same venue can change throughout the day. Our goal is to give users visibility and flexibility across the widest possible tuning range, so they can adapt instantly rather than rely on luck."

And one final approach that should be mentioned, despite its quixotic nature, would be for the FCC to actually begin policing the use of approved frequencies, as it's clear that everyone isn’t playing nicely in the sandbox.

Unified Voices
Technology alone isn’t enough. The professional audio industry has also learned that it needs a stronger and more unified voice in the policy arena. Shure led the formation of the Wireless Microphone Spectrum Alliance (WMSA), bringing together manufacturers, engineers, and end users to create a coordinated front at a time when spectrum access continues to shrink.

Shure has been deeply involved in the development of regulations in the United States and other countries, with spectral efficiency as the center point of its advocacy. According to Prakash Moorut, Shure’s global head of spectrum and regulatory affairs, WMSA now provides a platform for the industry to proactively educate policymakers about preserving wireless microphone access to spectrum, even as manufacturers innovate to use the remaining airwaves more efficiently.

The WMSA's work is already gaining traction. With more than 200 members, it has begun drawing attention in Washington at a critical moment, as the United States prepares to co-host the 2026 FIFA World Cup and later welcome the 2028 Los Angeles Olympics, two enormous global events that will rely on hundreds of wireless microphones for live performance, broadcast, and ceremony production.

Its outreach spans the White House, National Telecommunications and Information Administration (NTIA), FCC, and Congress, reinforcing how essential wireless microphones are to live performance, broadcast, cultural storytelling, religious services, and civic engagement. As Sinclair put it, “We can innovate all we want, but without spectrum, we’re just building better paperweights.”

Sinclair also floated an idea that goes beyond better microphones and smarter antennas—fixing the imbalance at its source. Many parts of the radio spectrum are still occupied by legacy government systems that haven’t been modernized in decades. Instead of pleading for scraps of spectrum, the professional audio industry could partner with agencies to modernize their outdated communications equipment, offering better technology in exchange for access to cleaner airwaves.

He suggested manufacturers and private sector innovators could help by providing modern replacements for that aging infrastructure, freeing up underused bands for shared, coordinated access. “There are military and public safety systems out there still running gear designed in the 1970s,” Sinclair said. “They’re holding huge chunks of spectrum hostage because no one’s upgraded them.”

As Moorut noted, during the 600 MHz auction, broadcasters—one of the largest groups of professional wireless microphone users—received roughly half of the auction’s proceeds, around $10 billion. That scale of compensation underscores how valuable this spectrum is to the wider media ecosystem, why the wireless production community must be included when national spectrum decisions are made, and how meaningful funding already exists to support the kind of modernization Sinclair is calling for.

Engineering Creativity Under Constraint
Despite the challenges, the show always goes on. Engineers have adapted by developing meticulous coordination strategies that resemble air traffic control. Frequencies are planned weeks in advance, with backup sets pre-programmed and tested. Large events can involve dozens of engineers managing hundreds of transmitters and receivers, all synchronized to avoid collisions.

Sinclair recalled a recent broadcast where every spare frequency was spoken for. “We had to label each transmitter like it was a boarding pass," he said. "One mistake and someone’s mic would vanish mid-sentence.” Some productions have even started reverting to wired microphones for reliability, not as a nostalgic choice but as a practical one.

It’s a strange twist: The technology that once symbolized freedom now represents a kind of scarcity. Yet within those constraints, creativity thrives. It forces precision, collaboration, and a renewed respect for the craft of live sound.

If history is any guide, the demand for wireless bandwidth will only grow. Each new generation of mobile networks (5G, 6G, and beyond) will hunger for more spectrum. Without deliberate protection for professional audio, the remaining white spaces could vanish entirely.

Spectrum is a shared public resource. Every wireless signal, from a singer’s microphone to a teenager’s smartphone, travels through the same air. What’s at stake isn’t just bandwidth, it’s the ability to express and connect through live sound.

The professional audio community has always been inventive, finding ways to make art work under constraint. But the next chapter will depend on collaboration—engineers pushing technology forward, manufacturers sharing innovation, and policymakers ensuring that culture has a place in the spectrum. The future of wireless audio won’t be about finding empty space. It will be about learning how to share it wisely.

This op-ed originally appeared on our sister brand AV Networks/Systems Contractor News.

Ever feel like simply keeping up with the mixing demands of live production prevents you from doing your best work?

With so many microphones across the field, court, or set and so many channels to monitor and mix, it can be overwhelming. Adding to the challenge are ever-present budget realities that demand A1s do more with fewer people and tighter timelines.

But that equation is changing. The new Shure DCA901 digital broadcast mic array combines 78 individual microphones to create eight distinct software-steerable channels, an audio DSP that powers a built-in automixer, and control software to ease setup and reduce the burden of managing multiple microphones used to create a conventional mix.

With the DCA901 array, A1s can build their mixes as they truly intend them to be rather than out of concern over the precise positioning of mics, microphone failure or unwanted noise from, for instance, fans in the stands who may drown out the sound of a shoe squeak on court or a player calling for the ball on a football (soccer) pitch.

Ultimate Control

Consider a conventional live audio production for a televised basketball game. An A1 working with assistants would attach shotgun microphones to the stanchions supporting the backboard and point each toward the court, providing a wide pickup pattern. A pair of lavalier mics—one at each net—would also be attached to pick up the ball hitting the rim or the swish of a nothing-but-net free throw—and another shotgun mic at midcourt.

Add into the mix an assortment of on-camera mics, other mics positioned around the arena for crowd noise, and a couple of cameras with shotgun mics attached to capture the sound of those in-your-face under-the-basket shots.

Now consider replacing most, if not all, of that with a DCA901 mounted to each stanchion. With the microphones’ easy-to-use control software, individually steerable coverage lobes are positioned to cover each half of the court. Using the array’s Auto Position feature found in its web-based GUI, an A1 selects a channel and instructs an assistant to make a sound at a desired location. Using that sound, the system automatically aims one lobe at the sound to pick up audio from that location.

The DCA901 offers several key benefits in this scenario. First, there are far fewer possible points of failure—fewer mics and backup mics, less cabling, and fewer wireless channels that might fail. Next, setup time drops dramatically—from hours to as little as 30 minutes. Gone is the need for back-and-forth between an A1 and an assistant, tweaking each mic's orientation. Instead, DCA901 lobe steering is done in software away from the array. Fewer mics, backups, and support gear, along with faster setup, translate into lower production costs.

More Intentional Mixes

Perhaps the greatest benefit of using the DCA901 is that it unlocks the full potential of A1s to mix live productions the way they want, not as they must. The array’s powerful, yet easy-to-use functions and software give A1s the freedom to mix with intention.

For instance, replacing so many conventional microphones with a pair of DCA901s in the basketball scenario means A1s can rely upon the array’s automixer to create a submix of the action on court as it moves from coverage lobe to lobe rather than mixing multiple audio channels coming from stanchion shotgun mics, lavaliers, camera mics, and the rest.

Rather, taking the submix from the DCA901 automixer and a few mics around the arena for crowd noise, an A1 has enough time to focus on the other sound elements that go into the main mix, such as sound effects associated with animated graphics, which might otherwise have been missed.

Of course, these same benefits can enhance audio production by opening up new possibilities for A1s to mix intentionally and achieve their creative vision for other sports, studio shows, and even reality TV.

Having that extra set of virtual hands makes all the difference not only for A1s but also for producers and directors, who expect their shows to look and sound great.

Click here to learn more about the DCA901 and schedule a demo in your environment.

Broadcasters, production companies, and show producers alike know that engaging audiences more deeply in their productions not only makes their work memorable but keeps the public coming back for more.

That’s why there’s been so much attention paid over the past few years to enhancing resolution—taking it to 4K and even 8K UHD—and transitioning to high dynamic range (HDR) pictures offering a much wider color gamut than standard dynamic range. Each helps to put lifelike images—those that pull viewers into content—on screen.

But what about audio production? Equal effort is being given to enhancing viewers’ audio experience as well. A number of technologies have emerged to enhance the audio experience, such as speech enhancement and descriptive audio. But it’s immersive sound that most directly engages audiences in the action by creating a captivating audio experience that’s the perfect match for 4K/8K UHD images and HDR.

Until recently, capturing immersive audio, especially for live productions like sports, has required elaborate, time-consuming mic setups and exceptional mixing diligence to create an immersive sound experience. Not only was a good deal of work needed to precisely position and tweak the mics' aim to pick up the channels required for the immersive mix, but cabling and mounting complexity grew with each new microphone.

A new digital broadcast microphone array from Shure, however, is changing that equation. The Shure DCA901 is equipped with 78 individual microphone elements that form eight lobes, which can be steered remotely in real time to create a sound field that changes as the action moves across the screen. During setup, having steerable lobes means adjusting the pickup from a central computer, not physically at the mic. During production, they mean being able to capture audio as the action unfolds.

For instance, for basketball games, two DCA901 arrays—one mounted to each backboard stanchion—provide A1s with total court coverage and the ability to steer audio pickup to capture dribbles and shoe squeaks as play moves around the court.

Beyond sports, the DCA901 is leaving its mark in live studio production, newscast production, reality TV production, and even after a shoot is finished in post-production.

Bill Oakley, Shure Associate Director of Global Product Development, recently sat down with TVTech contributing editor Phil Kurz to discuss immersive audio and the role the company’s DCA901 is playing in simplifying production of live immersive audio.

Click here to watch the interview.

LAS VEGAS and NASHVILLE, Tenn.—Shure technology played a critical role during the broadcast productions of the 59th Annual CMA Awards at the Bridgestone Arena in Nashville and the 2025 Latin Grammy Awards at the MGM Grand Garden Arena in Las Vegas.

At the CMA Awards, Shure microphones and wireless systems delivered clear, reliable audio. The country music event’s production team relied heavily on Shure Axient Digital Wireless and PSM 1000 in-ear monitoring systems to deliver pristine sound to the crowd, artists and those tuning into the ABC-produced event around the world.

ATK provided wireless support with 34 channels of Axient Digital and 24 channels of PSM 1000 powering 116 belt packs per side, the company said.

“I still continue to be amazed by the rock-solid performance, operating range and tolerance to interference [of Axient Digital],” James Stoffo, RF coordinator for the CMA Awards, said. “One diversity set of antennas upstage center covered an entire arena from the stage to the back of house. When the transmitters were anywhere in the arena, I had completely pegged RF indication at the receivers. Exactly what you want to see.”

The show featured Shure KSM11 microphones for host duties and standout performances, including Luke Combs, who also paired the KSM11 for his collaboration with BigXthaPlug.

“I have been using the KSM11 for over three years for both speech and performance applications,” said Paul Wittman, production sound mixer for the CMA Awards. “They have a smooth, natural response and are consistent across many voices.”

Other artists relying on Shure Axient Digital and mic capsules included: Old Dominion and Megan Moroney, using a Shure SM58; Chris Stapleton, using a wired SM58; Riley Green, using a Beta 58A; Zach Top, using KSM9; Little Big Town, using the KSM11 and SM58; Ella Langley using the SM58; and Patty Loveless, using the SM58.

Latin Grammy Awards
This year’s Latin Grammy Awards saw Shure play key roles from the opening number, featuring Carlos Santana, to performances by Aitana, Alejandro Sanz and Karol G. Artists and the production team relied upon Shure’s Axient Digital Wireless Microphone System and the Axient Digital PSM In-Ear Monitor System

In addition to the main show, the Latin Recording Academy Person of the Year Awards and Latin Grammy Premiere were both supported entirely by Shure wireless, including Axient Digital Wireless and Axient Digital PSM In-Ear Monitoring Systems.

“The Latin Grammy Awards were a big success,” Univision Technical Manager Michael Karsch said. ”I attribute this to the professional audio crew and the support of Shure. Due to frequency limitations in Las Vegas, our Shure representative loaned us the new Axient Digital PSM system, which enabled us to provide an interference-free monitoring system for the talent. The talent loved the sound as well as the smaller belt pack. This made life easier and delivered a stress-free production.”

Production teams deployed eight channels of Axient Digital PSM for Stage A, while the rest of the show featured the trusted Shure PSM 1000. Wireless podium audio was delivered flawlessly using Shure AD3 transmitters, and announcers Maluma and Roselyn relied on Axient Digital systems paired with Shure KSM11 Cardioid Condenser Vocal Microphone capsules, Shure said.

“We had the opportunity to implement multiple channels of Digital PSM In Ear monitor systems,” said James Stoffo, RF coordinator for the Latin Grammy Awards. “The analog PSM RF spectrum was full of back-to-back DTV so I requested that we add as many Digital PSM channels as we could get our hands on. Everything went off splendidly and the monitor technicians were happy. The wide RF tuning range and audio quality, even in low RF signal conditions, makes the RF tech’s job so much easier. My intention is to specify the Digital PSMs on all future live productions.”

More information is available on the Shure website.

NEW YORK—The “MTV Video Music Awards” on Sept. 7 set a record for the most-viewed and engaged “VMAs” in history with more than 5.5 million viewers watching on CBS, MTV and Paramount+, a 42% jump in viewers from 2024.

A team of audio engineering professionals from Firehouse Productions contributed to the success of the awards show, held at UBS Arena in Elmont, N.Y., turning to Shure wireless audio technology to ensure the evening’s production was as iconic as the artists performing.

Audio coordinator Mark Dittmar, broadcast production mixer Sean Prickett, music mixers Eric Schilling and John Harris, RF coordinator Cameron Stuckey, front-of-house mixers Dan Gerhard, Adam Armstrong, Simon Welch and Mike Bové and monitor mixers Chris Prinzivalli, Brett Taylor and Tom Pesa made up the Firehouse Productions audio team.Firehouse Productions provided equipment for the event. The team deployed 56 channels of the Shure Axient Digital Wireless Microphone System and 52 channels of the Shure PSM 1000 In-Ear Personal Monitoring System, including 110 P10R receivers.

“Even with the huge differences in artists and their performances, the Axient Digital system, coupled with ultrareliable Shure capsules, made every vocal performance predictable and rock solid,” said music mixer Harris. “From Busta Rhymes’ hip-hop to Alex Warren’s massive pop vocals, and from reggaeton with J Balvin to country rock with Bailey Zimmerman, I always had the control and sound that I needed.”

Added audio coordinator Dittmar: "Shure wireless provides us with the seamless technology to execute a large show like this, and of course, the sound quality is amazing.”

Shure microphone capsules graced the stage with a myriad of the award show’s performers, including Doja Cat on a Beta 54 headset mic, and Alex Warren, Sombr, Bailey Zimmerman and Busta Rhymes on SM58 capsules. Notably, J Balvin and Mariah Carey, recipients of the 2025 Video Vanguard award, both sang into new Nexadyne 8 vocal microphone capsules, with Carey’s mic featuring a custom gold Shure Axient Digital handheld transmitter. Lady Gaga, Artist of the Year winner, shared a prerecorded performance where she was singing into the new Shure SM39 headset microphone.

“For the MTV VMAs we debuted the Shure Nexadyne capsule with J Balvin, and it was a game-changer. Right out of the box, the capsule delivered a crystal-clear vocal that sat perfectly in the mix; we barely touched the EQ on his channel strip. Huge clarity, great rejection and broadcast-ready tone without extra work,” said Hugo Pinzon, monitor and broadcast engineer.

Each of these artists, in addition to Lola Young, Tate McRae, Sabrina Carpenter and Conan Gray, all relied on Shure Axient Digital wireless handheld transmitters.

NILES, Ill.—Shure Incorporated has announced that it is forming the Wireless Microphone Spectrum Alliance (WMSA), a coalition that will work to ensure access to RF spectrum for wireless microphones. This alliance will include end users, content creators, live production service providers, equipment manufacturers and other stakeholders.

The group has not, as yet, announced any other members.

In launching the group, Shure noted that wireless microphones are essential for a wide variety of activities, including concerts, events, corporate presentations, houses of worship, sports, film production, television, music, conferences, community meetings, and more across the United States. They are also used in events that are a significant source of revenue for media companies and others.

To protect scarce spectrum for their operations, WMSA will advocate for access to the RF spectrum that allows those events to operate using wireless microphones. More specifically, the group said its mission will be to:

• Preserve RF Spectrum: Ensure the availability of spectrum for wireless microphone users across various industries
• Raise Awareness: Through education, highlight the critical importance of spectrum for concerts, live sports, live events, concerts, the film industry, broadcast, theater, worship and other content creators
• Foster Collaboration: Create a platform for stakeholders to join forces in advocating for spectrum preservation
• Engage Policymakers: Work closely with the FCC, Congress, and other policymakers to advocate for sufficient spectrum allocations for current and future wireless microphone use
• Conduct Public Outreach: Encourage public involvement through outreach and events that demonstrate the necessity of wireless spectrum and the impact its loss would have on various productions

In addition, the group stressed that without proper spectrum availability for wireless microphones, many cities may not be able to successfully operate large-scale sporting events like the Super Bowl or the Olympic Games. Wireless microphones are used extensively for a wide variety of activities during these events, including:

• Press conferences
• Onsite TV and radio production
• Pre-show concerts
• Fundraisers/community events
• National anthems
• Halftime shows
• Broadcast microphones
• Referee/official microphones
• Public address and public safety microphones
• Many other activities that require adequate spectrum for wireless microphones

RF spectrum for wireless microphones will also play an important role in the U.S. for such upcoming major events as the 2026 FIFA World Cup and 2028 Olympic Games, the group said.

Shure said that organizations interested in joining this effort can contact Prakash Moorut (global head of spectrum and regulatory affairs at Shure) at moorutp@shure.com.

NILES, Ill—Shure has unveiled its strategy for spectrum used for wireless audio after the U.S. National Spectrum Strategy recently identified more than 2,700 MHz of spectrum to study for innovative new uses by the private sector and government agencies.

The pro audio company notes that while many other companies provided input as this strategy was developed, Shure was the only company that provided feedback on the needs of wireless audio.

Shure says it applauds the work of the National Telecommunications and Information Administration (NTIA) in collaboration with the Federal Communications Commission (FCC) for their work on the strategy and the opportunity to provide input.

Shure touted its strong record of collaborating with the wireless microphone community and representing the interests of content creators in these regulatory discussions, adding that its active participation in the regulatory discussions around Wireless Multi-channel Audio System (WMAS) and other technologies reflect the company’s commitment to spectrum efficiency and coexistence with other systems. 

Shure supports integrated standards that enable innovation to ultimately benefit end users and has outlined four key points in its feedback for the U.S. National Spectrum Strategy: 

• Program Making & Special Events (PMSE), that includes wireless microphones and In-Ear Monitor systems is of critical importance to the U.S. economy
• Continued access to spectrum around 1 GHz for audio PSME is critical for its long-term future
• Potential future technology for audio PMSE cannot completely overcome the lack of spectrum
• Shure supports spectrum sharing

“We want to ensure that spectrum needs are considered so that the right support can be provided for events and content creation, which are vital to the economy,” said Prakash Moorut, Global Head of Spectrum & Regulatory Affairs, Shure. “The U.S. needs to continue to be a leader on spectrum sharing, which is allowing so many applications like PMSE to flourish.”

Shure is showcasing wireless audio product’s use of spectrum to regulators from around the world at the four-week World Radiocommunication Conference (WRC-23) in Dubai that wraps up Dec. 15.

CHICAGO—South Central Los Angeles high school students, aspiring for careers in multimedia, have been outfitted with Shure MV88+ Video Kit microphones to help them create a series of videos about sustainability as part of an AppleTV pilot called “The eARTh Project.”

“eARTh” is a 12-week healthy lifestyle education series designed to inspire young people to take an active interest in local community gardens, cooking healthy food, art making, video storytelling and creative business practices, while using the latest mobile filmmaking technology. Through this program, students explore ways to apply a more sustainable approach to filmmaking, creative entrepreneurship, finances, food and the environment.

Ten students in Compton used iPhones outfitted with Shure MV88+ Video Kits to chronicle their experiences during quarantine—ranging from finance, fitness, fashion and family to lifestyle, business education, food and community gardening. The videos were then edited by the students using LumaFusion and exhibited on their personal YouTube channels. The students also met with top industry professionals every week to discuss their work, receiving constructive feedback and mentorship.

By the completion of the program, all of the students got paid to create unique video content for major brands, exemplifying exactly how to build a more purposeful and sustainable lifestyle using their creative skills.

The project is a collaboration by the We Uplift the World (WUTW) Foundation and We Make Movies Smartphone Studio. The We Uplift The World Foundation is a dynamic organization focused on using art and technology to positively transform lives.

“We are extremely grateful for our partnership with Shure because they make it possible for us to equip our students with the very best audio and video equipment for mobile filmmaking and simple storytelling,” said Bijan Machen, founder of We Uplift the World Foundation. “Our students now have an understanding of how to properly record and edit sound for their professional creative projects, giving them the confidence to share their voices with the world.”

Unveiled at the Consumer Electronics Show in 2019, the MV88+ Video Kit features a digital stereo condenser microphone that provides content creators with an all-in-one solution for capturing professional-quality recordings on-the-go. The kit also includes a Manfrotto PIXI tripod, phone clamp and mount, as well as iOS and USB-C cables for next-level compatibility and connectivity.

“For 95 years, Shure has given back to the community,” said Eduardo Valdes, senior director, Global Marketing, Pro and  Consumer, Shure. “While Shure products are relied on by some of the top artists and performers around the world, our next generation of content producers is here now—and they have important stories to share. We’re proud to help these talented students pursue their dreams.”

Even for content creators just starting out, they deserve the best audio possible and the MV88+ delivers Shure signature audio quality for extraordinary content creation. Designed for podcasters, videographers, content creators, field recordists and musicians looking to record immersive, rich, high-quality audio wherever, the MV88+ accentuates the power of flexibility, enabling the transformation of a smartphone into a professional-level mobile audio and video rig.

The next projects for eARTh include mobile filmmaking workshops with five different Native American Reservations around the U.S. as well as a new media education partnership with the Inglewood Unified School District in California. They also have partnered with the Orphaned Starfish Foundation to bring these exciting educational opportunities to orphaned youth in Haiti, Panama and the Dominican Republic.

CHICAGO—Shure Inc. has filed a petition with the Federal Communications Commission asking the agency to reverse its decision and guarantee at least one 6 MHz UHF channel in each market is reserved for wireless mic use.

The FCC recently terminated its Vacant Channels rulemaking initiated during the TV spectrum incentive auction. The rulemaking considered dedicating a UHF TV channel for wireless mic use.

The company told the FCC that now more than ever wireless mic users need clear spectrum. On one hand, reallocation of 600 MHz spectrum for mobile phones and the repack of stations into 500 MHz spectrum has reduced available spectrum. On the other, continued growth of broadcast, performance and sports production is requiring more wireless mic channels than ever, Shure said.

While the FCC identified 900 MHz, 1.4 GHz and 7 GHz as alternatives in 2017, Shure says these bands fall short of addressing the needs of wireless mic users because they don’t offer the same characteristics and flexibility as UHF frequencies.

Use by other industries licensed to operate in these bands means their use for wireless mics is conditioned on requests to share, which may or may not be granted, it said.

The 600 MHz duplex gap and VHF frequencies are helpful but are not alternatives to a dedicated UHF channel and the certainty that offers, Shure said, adding that a designated channel is also important for other applications, such as intercom, IFB and other wireless uses.

Without clear spectrum for wireless mic use, the integrity of a variety of productions, ranging from professional sports and concerts to live TV and theater, will suffer, Shure said.

“The amount of available UHF spectrum for wireless microphone use continues to shrink,” said Ahren Hartman, Shure vice president, Corporate Quality. “With the loss of 700 MHz, 600 MHz, and the DTV repack into 500 MHz, we are at an all-time low for access to UHF spectrum. However, the need for open and clear wireless microphone spectrum is higher than ever before.”

More information is available on the Shure website. 

SALT LAKE CITY—Shure has been ruled to be in contempt of a preliminary injunction order regarding its MXA910-A microphone by the U.S. District Court of the Northern District of Illinois.

The preliminary injunction order was issued in August 2019 and prevented Shure from “manufacturing, marketing and selling the MXA910 in a way that encourages or allows integrators to install it in a drop-ceiling mounting configuration,” which would be in violation of a patent owned by ClearOne (U.S. Patent No. 9,813,806).

Shure released the MXA910-A in November 2019, claiming that the court ruled that the new model was not included under the preliminary injunction. The court disagreed, saying that Shure violated the order by allowing integrators to install the MXA910-A in the enjoined flush configuration.

The court has ordered Shure to no longer manufacture, market or sell the MXA910-A.

Another Shure product, the MXA910-60CM is also part of the preliminary injunction order according to the court, but contempt was not granted at this time to allow for additional discovery. The court will also look into if Shure violated the preliminary injunction by attempting to sell MXA910 immediately after the order was issued.

ClearOne voiced its support of the court’s decision and said that it will continue to pursue all available legal remedies to defend its patents from infringement.

Shure also provided a statement regarding the court's decision, saying that it disagrees with it but also sees positive aspects, specifically regarding the MXA910-US, which currently has a case pending with ClearOne over patent infringement.

"To be clear, the court's ruling is not a finding that the MXA910 infringes on ClearOne's '806 patent," said Shure in its statement. "Rather, the court ruling addresses compliance with the court's previous preliminary injunction order. Shure continues to believe it has not violated any ClearOne patents and that ClearOne's patents underlying this litigation are invalid. We look forward to presenting our case before a jury early next year and putting the matter to rest. As always, our top priority remains providing an uninterrupted supply of innovative products to ourc customers."

This story has been updated to include the statement from Shure.

CHICAGO—Wireless microphone developer Q5X and professional audio solutions developer Shure announced they have collaborated on the development of a new series of Axient digital-enabled wireless transmitters to improve access to player and coach audio for sports broadcasting. 

The transmitters leverage the latest wireless digital technology and offer RF stability, encryption and spectral efficiency, the companies said.

“With the combination of Q5X and Shure, this is really the best of both worlds,” said Jens Rothenburger, director of Pro Audio marketing at Shure. “The new Axient digital-enabled Q5X wireless transmitters provide sound engineers and the sports industry with a complete solution in a superior, already-established form factor.”

The new Axient digital-enabled Q5X wireless transmitters were developed to address ongoing technical challenges plaguing major sports organizations. The transmitters incorporate innovative wireless technology to deliver outstanding signal quality in even the most complex venues and congested RF environments, the companies said.

“Q5X prides itself on developing transmitters to solve difficult wireless audio problems for our customers,” says Paul Johnson, CEO of Q5X. “Now, we have a proven digital technology that can be placed in literally any form factor.”  

With more than a decade of experience working closely with professional sports leagues, Q5X has established well-proven product form factors that are well-suited for players, coaches and officials at all sporting levels in different sports.

Three form factor models feature the latest Axient Digital technology, including the CoachMic, PlayerMic and AquaMic, which is designed for wet environments, such as outdoor functions or water sports. 

The new CoachMic offers the functionality of a large, easy-to-use rocker-style mute switch and the security of digital encryption. It securely and unobtrusively captures the coach’s audio for post-production, while giving the coach a means to mute the mic with confidence for game strategy or other sensitive discussions.

Originally developed for the NBA, the PlayerMic is a flexible bodypack offering a safe solution for players to wear. Its thin, bendable, rubber design protects players from injury if they fall or take a direct hit and is easy to conceal. This version of the Q5X PlayerMic bodypack transmitter has been co-developed with Shure to be compatible with Axient Digital wireless receivers.

The AquaMic is designed to capture crystal-clear audio in demanding environments, such as water sports or buried in an outdoor playing field when players can’t wear them. It is fully submersible and can handle challenging environmental situations like those in reality television, film and sports broadcasting. Rechargeable batteries provide four to 16 hours of life.

With the MicCommander, users can control all aspects of the bodypack transmitters remotely, including set up and monitoring: on/off, frequency, mic offset, RF power, groups and battery level. The handheld remote control and transmitters take advantage of the RCAS (Remote Control Audio System) communication scheme for simple and complex adjustments, the companies said.

The Axient digital-enabled Q5X wireless transmitters will be available in summer 2020.

More information is available on the Shure website.  

CHICAGO—ABC’s May 22 live performance of Norman Lear’s classic “All in the Family” and “The Jeffersons” sitcoms may have harkened back to a bygone era of television, but at least as far as the technology—especially the audio gear—is concerned the production of “Live in Front of a Studio Audience: Norman Lear’s ‘All in the Family’ and ‘The Jeffersons’” was as modern as it gets.

Jimmy Kimmel and Norman Lear, producers of the special, opened the broadcast to viewers nationwide using Shure’s TwinPlex performance microphone.

Paul Wittman, production mixer for the Kimmel and Lear portions of the ABC special, selected the TwinPlex lavalier microphones and Shure’s Axient Digital wireless system for the show because of their “very clean, dynamic sound” and “absolute reliability,” he said.

Jennifer Hudson, who performed a live version of “Movin’ On Up,” the theme song of “The Jeffersons,” relied on the Axient Digital wireless system, which frequently is used during award shows, halftime performances, music festivals and Broadway productions, as did Kimmel and Lear.

The wireless systems for the Kimmel and Lear portions were provided by ATK, with Andres Arango handling monitors and Ian Gutierrez as the RF tech.

“TwinPlex is a very natural sounding mic to me,” said Wittman. “It has a rich warmth to it that doesn’t sound muddy and doesn’t require much equalization no matter where it is located on the actor.”

“I knew that I would only get one chance to hear both Jimmy and Norman, and that would be at dress rehearsal, so I didn’t have time to mess around to find a solution, I had to know it would work no matter where the mic was pinned. Jimmy and Norman couldn’t have more different sounding voices and, as I suspected, I didn’t need to make many adjustments to make them sound how I would like.”

TwinPlex is Shure’s new line of subminiature (5 mm) omnidirectional lavalier and headset microphones.

More information is available on the Shure website.

BURBANK, CA–Bexel an NEP Broadcast Services Company, says it has completed a “major purchase” of audio and RF intercom inventory and plans to invest over $1.5m on new audio technology this year.

“We are excited about this investment, which not only increases our rental inventory, but also supports the latest wide-band technology, offering our customers more flexibility to meet the demands of the limited spectrum,” said Tom Dickinson, vice president of technology for, Bexel.

[Read: NEP, Bexel Support NCAA Tournament Production]

Bexel has invested heavily in RF microphone systems, primarily from Sennheiser, Lectrosonics and Shure. The new systems comply with new FCC spectrum requirements and provide increased flexibility with wide-band capable systems. The investment includes Sennheiser EM 3732-II high-end RF receivers, SKM 5200/5212-II world class RF transmitters, Lectrosonics DRM encrypted receiver modules for digitally encrypted secure audio plus SMWB transmitter and Venue frames and DUET MTR IFB transmitters. Shure includes ADX1 and ACX2FD dual transmitters plus AD4QUS 4 channel receivers.

The company has also purchased advanced RF intercom systems comprising of Clear-Com’s FreeSpeak II, Radio Active Designs RAD UV-1G and Pliant Technologies Crewcom wireless intercom systems. These technologies provide unique and different approaches to the RF spectrum that enable a variety of solutions to meet the demands of this new, complex frequency space, as well as complying with the new FCC guidelines.

In addition, Bexel is increasing its investment in their custom Sideline Audio/Video Cart, a plug-and-play solution for streamlining the acquisition of audio and video feeds on the field. The self-contained, mobile cart is designed to be set-up within minutes on the sideline or the end-zone of a sports field. It is equipped with single-mode fiber, SMPTE hybrid and copper cables, and hydra cable assemblies, and it enables MADI audio and wireless audio and video transmissions. 

With the company’s latest investment, the carts have been upgraded to include Shure Axient or Sennheiser RF microphones, Radio Active Designs (RAD) or Clear-Com RF intercom systems, Sennheiser shotgun microphones and Klover Mik-26 Parabolic microphones. This solution is is fully customizable to each client’s specifications.

NILES, ILL.—There were more teams on the field U.S. Bank Stadium during Super Bowl LII than just the Philadelphia Eagles and New England Patriots. ATK Audiotek and Professional Wireless Systems were the main companies behind the on-field audio, with the pair choosing to go with Shure wireless microphones and in-ear monitors to serve as its primary RF systems.

From L-R, Cameron Stuckey (RF Technician), Jim Van Winkle (General Manager), and Gary Trenda (Lead RF Technician).

The on-field wireless needs covered the pregame presentation of the Walter Payton Man of the Year Award to the presentation of the Lombardi Trophy to the Philadelphia Eagles, as well as ref microphones and audio for all musical acts. This setup was supported by a mix of the Axient Digital and Axient analog systems, plus Shure PSM 1000 in-ear monitors.

Referee miking was handled by Shure Axient with frequency diversity. The system features two lavalier mics feeding separate AXT100 bodypacks tuned to separate frequencies. There was also a custom-built mute switch by ATK Audiotek for the ref to control when he is heard. Two receivers were present, one using house power and the other a UPS battery system, while an Axient ShowLink backchannel was also used for remote monitoring and control of all transmitter parameters.

Shure also assisted in providing the wireless antenna system for the game. The Axient Digital used its Quadversity feature to extend coverage capability. In addition, all antennas were Shure’s HA-8089 helical. Long cable runs were addressed with an RF over fiber optic cable system.

Additional gear used during the game included two AD610 Access Points, 12 IEM mixes and Shure’s Wireless Workbench software to tie the entire system together.

NILES, ILL.—Country music’s biggest night got an assist from Shure as the company’s wireless microphones and monitors were the product of choice for the production team.

Shure ended up providing dozens of its wireless microphones. Artists had their choice of microphones to use and they selected from the entire Shure range, including the 5575LE; the AD2/SM58 wireless; the SM58 capsule atop the UR2 handheld; the supercardioid Beta 58; the UHF-R wireless system; the condenser Beta 87; and the UR2 with KSM9 condenser mic elements.

In-ear monitoring systems also got a boost from Shure products. All wireless in-ear monitoring systems were powered by the PSM 1000, while 15 Shure P6HW units were used for hardwired in-ear applications.

The award show’s primary audio system and backline supplier was ATK Audiotek.

NILES, ILL.—Shure announced an expanded, global role for Mark Humrichouser, as vice president of its Americas and Asia/Pacific Sales organizations. In this role, Humrichouser leads the sales, marketing, customer training and education, customer service and product technical support functions for these regions.

Prior to this appointment, he served as vice president and general manager of the company’s Americas business unit. His other positions at Shure were general manager of the U.S. business unit and director of U.S. sales.

Mark began his career at Shure in 2006, after a nine-year tenure at Sennheiser U.S., where he served in several roles, including team manager for Professional Systems and the music industry, regional sales manager, and regional market development manager.

“Mark provides valuable and successful sales and marketing leadership,” said Ray Crawford, senior vice president of global marketing and sales. “His impressive knowledge of our industry has been instrumental in helping Shure achieve its strategic sales objectives in The Americas. I am confident that Mark will lead Shure sales in the Americas as well as in Asia with the same ability and resolve that he has demonstrated so effectively, and I congratulate him on this expanded position.”

NILES, ILL.—Shure is going with one of its own to lead a new department that looks to centralize the company’s global public relations, government affairs and corporate communications, promoting Mark Brunner to the official title of vice president global corporate and government relations.

Brunner has been with Shure since 1989, holding several positions including director of advertising, managing director of the musical instrument and touring sound business unit, and senior director of global brand management. He has also advised policymakers on the impact of spectrum legislation to the professional audio community.

In his new role, Brunner will focus on consolidating and extending Shure’s industry advocacy, philanthropy and history preservation activities.

NILES, ILL.—Shure technology is taking up residency in the Weyerhaeuser Hall boardroom on the campus of Macalester College in St. Paul, Minn., as part of an update to its AV system. The private liberal arts school has installed Shure’s Microflex Wireless Desktop Base transmitters (Model MXW8) and Gooseneck Cardioid microphones (Model MXW415LP/C).

Microflex

Weyerhaeuser Hall was originally constructed in 1920 with little consideration given to its acoustic layout. Prior to the installation of Shure equipment, people using the hall for meetings would need to share eight handheld wireless microphones. As a result, the school added 15 Microflex transmitters and 15-inch Gooseneck mics.

“Without cabling to worry about, we were able to configure the system to match the unique needs of our room setup and meeting style,” said Henry Gil. “We’ve also found the system’s programmability, computer interface and ease of setup as key contributors to our success using Shure’s Microflex Wireless system.”

NILES, ILL.—A trio of executives from Shure’s global marketing and sales departments have been awarded promotions, per a press release from the company; they are Ray Crawford, Althea Ricketts and Erik Vaveris.

Ray Crawford

Crawford has been promoted to senior vice president of global marketing and sales. He has been with Shure since 2005, working to implement Shure’s business plan and oversee global business initiatives. Crawford is also a member of the executive staff and chairperson for the Shure Corporate Management Committee.

Althea Ricketts

Ricketts will now serve as the associate vice president of GMS operations. She has worked on GMS operations since 2014 and will now take on an expanded role that will she her be responsible for global finance, customer service and supporting departments as well as sales and operations planning.

Erik Vaveris

Vaveris’ new role will be as associate vice president of global marketing. His new primary responsibility will be monitoring the consolidation of specific marketing functions worldwide as well as leading the planning and implementation of Shure’s marketing efforts across the globe and localizing when appropriate.

NILES, ILL.—The best of the NBA were shooting, passing and dunking all throughout the NBA All-Star Weekend in February down in New Orleans and it was Firehouse Productions handling the range of audio needs for broadcasters. To assist with its production, Firehouse called on Shure’s wireless microphones and in-ear monitoring systems.

Events for All-Star Weekend was spread across three locations, the Smoothie King Center, the Mercedes Superdome and the outdoors Championship Square. Firehouse deployed 32 channels of Shure UHF-R wireless mics and 24 channels of PSM 1000 in-ear monitoring systems at the Smootie King Center for coverage of the skills competition and actual game. SM58, KSM8 and KSM9 handheld systems were also used. UHF-R and PSM 1000 systems were also deployed at the Superdome and Championship Square, providing a reported total of between 150 and 160 channels of Shure products.

In addition, the WA653 Flag Extender Kit from Shure was also utilized for the handheld wireless transmitters. The kit is compatible with all interchangeable Shure wireless microphone cartridges and includes 1- and 1.5-inch spacer collars, extending handheld transmitter length by up to 2.5 inches.

Firehouse Productions brought in Frequency Coordination Group to handle the frequency plan for the 1,200-plus RF systems in use across all three locations.

NILES, ILL.—From musical performances to acceptance speeches, the audio for the broadcast of the 59th Grammy Awards relied heavily on Shure equipment.

Maren Morris performs at Grammys

The Grammy’s audio crew paired Shure UHF-R transmitters and Axient AXT600 receivers to help ensure protection from interference. This included the use of Shure equipment at the podiums, with Shure UR1 transmitters present to support wireless microphones. Shure also provided its PSM 1000 units to be used with in-ear monitor systems.

A number of artists requested Shure equipment for their performances, like the UR2 transmitter with SM58 mic element, KSM9 condenser mic element and KSM8 dual-diaphragm dynamic. Artists using this Shure gear included Maren Morris, Demi Lovato, Keith Urban, and members of Pentatonix and Little Big Town. Beta 181/C condensers were used for acoustic pianos while guitars utilized the Shure KSM313 ribbon microphone.

The Grammys took place on Feb. 12 in Los Angeles.

NILES, ILL.—Bruce Skof has earned a promotion with Shure Incorporated, as the company has announced that he will take on the role of vice president and chief financial officer.

Having been with the company since 2000, Skof has served as a controller, manager of financial analysis and senior director of FP&A and treasury. He currently is a member of Shure’s Corporate Management Committee and serves as chairman of the Corporate Projects Governance Committee.

In his new position, Skof will now oversee Shure’s financial planning and budgeting process, lead the Enterprise Risk Management Program and will be responsible for financial and investment matters for Shure and its subsidiaries.

COSTA MESA, CALIF.—A team effort from QSC and Shure has expanded the integration of Shure Microflex Advanced and Microflex wireless microphones with the Q-SYS platform. As a result, Shure has released new plug-ins for the MXA910 ceiling array mic and Microflex wireless mic system, while QSC has updated the Q-SYS Designer software to version 5.3 with a number of connectivity options, including audio integration via Dante, analog audio and AES67.

Shure Microflex

Co-developed by QSC and Shure, the MXA910 plug-in allow for different audio control, preset recall and monitoring functions on the MXA910 from the Q-SYS platform using Q-SYS peripherals and touch screen controllers. With the MXA910 decoupled from Q-SYS’ audio integration method, integrators can use the plug-in for control while being able to choose between different audio transport methods. If using the AES67 method, all Q-SYS Core processors in the platform can be integrated with the MXA910 without additional hardware. QSC and Shure also collaborated on a setup guide with step-by-step instructions on how to integrate the MXA910 with Q-SYS.

Additionally, the Q-SYS enables QSC and Shure developers to expand the library of control plug-ins to other Shure products and allows integrators to incorporate them into future designs with a software update.

The Shure MXA Control plug-in and setup guide will be available with the release of the Q-SYS Designer software v5.3 this January.

NILES, ILL.—NBC has been helping to spread some holiday cheer with its coverage of both the Macy’s Thanksgiving Day Parade and “Christmas in Rockefeller Center” tree lighting telecast. For both events, NBC went with Shure Axient wireless microphones and PSM 1000 in-ear personal monitor systems to deal with the coverage and wireless spectrum for the outdoor broadcasts.

During the Thanksgiving Day Parade, hosts Matt Lauer, Savannah Guthrie and Al Roker were equipped with Axient AXT200 handheld transmitters with the KSM8 microphone element. Behind the scenes, eight channels of Shure PSM 1000 were used as an IFB system for camera operators and other crew members.

For the Christmas tree lighting, all hosts were outfitted with both handheld and bodypack Axient systems, which like the parade, were set up in frequency diversity mode to limit interference. In addition, tree lighters Kate McKinnon and Alec Baldwin used handheld Axients with KSM8 capsules, while the stage for music performances was outfitted with 10 channels of Axient wireless and 16 channels of PSM 1000 in-ear monitors. In total, 18 Shure Axient systems and 22 channels of PSM 1000 were used for the broadcast.

Both telecasts were run by Project Manager Joshua Flower and RF Engineer Clair Global.

NILES, ILL.—Shure’s ULX-D digital wireless system and related accessories are getting a new component to its make-up, as the company announced they are now available in the VHF frequency band; Shure’s QLX-D digital wireless system will follow suit early next year. The VHF option will provide users with 42 MHz of tuning bandwidth in the spectrum.

ULX-D

The new VHF band ULX-D and QLX-D systems offer alternatives to the increasingly crowded UHF TV Band, which includes systems capable of operating in the 900 MHz band (ULX-D, QLX-D and PGX-D), DECT (Microflex Wireless), and 2.4 GHz (GLX-D digital wireless).

Features offered from the ULX-D and QLX-D system include spectrum efficiency, recharging accessories, networking options and rugged construction. Individually, ULX-D offers efficient RF performance, network control, Dante digital audio and AES-256 encryption for professional sound reinforcement. The QLX-D will deliver streamlined performance with transparent 24-bit digital audio, as well as wireless functionality for live sound events and installations.

New, VHF-ready accessories will be available with the VHF versions of ULX-D and QLX-D. These include the UA844+V antenna distribution system, UA834V in-line amplifier, UA874V active directional antenna, and UA860V passive, ground-referenced omni-directional antenna. The UA845UWB antenna distribution system is also available, as it is switchable for UHF/VHF.

LOS ANGELES—Christian Assembly Church dates back to the early 1900s when our congregation began as a small prayer group of Italian immigrants during the Azusa Street Revival Movement. Now we have more than 3,000 worshippers each week, so it’s imperative that our sound quality and acoustics are top-of-the-line so that all of our church-goers can fully experience our sermons. Our goal is to make sure that everyone is able to experience the full impact of music and message.

Shure’s UHF-R Wireless Systems and KSM8 mics help with the live production of Christian Assembly Church’s service. Our current building was built in 1976. In 2010 it was time for a major overhaul, so we embarked on a renovation project. As the IT/tech specialist at the church, I wanted to make sure the upgrades gave each sermon crisp, clear sound, which is imperative for the music and message.

We had a few issues with our older wireless sound systems, but we were familiar with the quality and durability of Shure products, as we had used their Beta 58A and SM58 mics without issue for some time. We ultimately decided on Shure to bolster our wireless systems and mics, going with UHF-R Wireless System teamed with the KSM8 Dualdyne Vocal Microphones.

GREAT FIRST IMPRESSION
We were initially introduced to the KSM8 in January 2016 at the National Association of Music Merchants (NAMM) show, and the KSM8 left quite a first impression. It was clearly a superior mic when compared to anything we had previously tested. The diminished proximity effect, paired with the impeccable sound quality and output accuracy made the choice a no-brainer. We even conducted a blind, side-by-side test with our congregation’s worship leaders, and they all unanimously selected the KSM8. We now have a total of seven KSM8 mics in our church.

TEAMWORK & RELIABILITY
In planning for a replacement, we looked for a reasonably priced solution that could deliver reliable quality for the capacity of our building. Having used Shure mics and wireless systems in the past, the first thing I thought of was the Shure UHF-R Wireless System.

Prior to installing the UHF-R system, we had some technical issues with the sound quality, which ultimately impacted the vocal performances, but have had no such problems with the UHF-R. We got just what we were looking for—great sound and solid RF performance at a fair price.

The UHF-R, coupled with our KSM8 mics has provided a new dimension to our services, and we’ve seen that the congregation can hear everything well, without distractions. We’ll be using both products for years to come, and couldn’t be happier with the outcome.

Dirk Bolle is the IT/tech specialist at Christian Assembly Church. He can be contacted atdirkb@cachurch.com.

For more information, please visitwww.shure.comor call 847-600-2000.

NILES, ILL.—A new version of Shure’s ShurePlus Motiv mobile recording app is now available for download, per the company’s press release. Version 2.0 comes with a new editing tool, improved user interface, and fluid sound metering, as well as access to a playback window for review or listen to a specific recording.

The app’s new editing tool provides the ability to trim and split tracks, incorporate fades, and place markers on a recording’s timeline for points to return to, playback from or define splint points. The reconfigured interface offers fewer menu selections and pull-down options for easier navigation. And the app’s fluid sound metering indicates clipping by turning the entire metering bar red. With the playback window, app users can play, pause, fast forward, and rewind content, as well as a looping feature for continued review and an option to add artwork or imagery to the recording.

Version 2.0 is now available for free download for iOS devices on the Apple App Store.

NILES, ILL.—Shure is offering customers audio coverage from the table to the ceiling, as its latest line of networked digital microphones, the Microflex Advance Ceiling (MXA910) and Table (MXA310) are now available for shipping. In addition to being ceiling and table array mics, the MXA910 and MXA310 also provide audio interfaces, control software for A/V conferencing, and an evolution of Shure’s IntelliMix Digital Signal Processing Suite.

Microflex MXA310

Using Shure proprietary Steerable Coverage technology, the MXA910 captures audio from above the meeting space with up to eight lobes configurable in three dimensions. The mic can be flush-mounted to standard ceiling tile grid or below the ceiling with standard VESA-D and wire hanging mounts.

The MXA310 also uses the Steerable Coverage technology to deploy four discrete audio channels around a table. It can also use a ring-shaped pattern to reject unwanted artifacts from overhead. In addition, the mic features a programmable mute switches and the ability to customize LED color and shape to indicate microphone status.

All Microflex Advance hardware feature built-in control software and can integrate with third party controllers. The Microflex Advance microphones also use the Dante Audio Networking protocol, with all control, audio and power signals carried through a single Ethernet cable connection.

Shure has also announced that it is shipping its four Shure Audio Network Interfaces (ANI4IN and ANI4OUT) for audio routing in an out of the Dante network. The interfaces are available in standard XLR and block connector versions, and include an Ethernet port for Dante Audio routing and a browser-based software for control of connectivity and monitoring.

NILES, ILL.—Jamie Griffin is set to join Shure’s executive staff, as the microphone and audio electronics manufacturer has announced him as its new vice president of operations.

With his new role, Griffin will be responsible for Shure’s global manufacturing and plants around the world; global supply chain; operations program management; and process, tool and automated test engineering.

Griffin joins Shure after previously serving as the director of operations in Lenovo’s global supply chain organization. He has also held positions at Petnamaster and Dell Computers.

LAS VEGAS—Shure is making its ULX-D and QLX-D mic systems available in VHF spectrum versions, previewing Wireless Workbench 6.12 and partnering with Tieline Technology in support of Motiv.

Shure announced that two of its digital wireless systems, the ULX-D and the QLX-D are now available in VHF spectrum versions with 42 MHz of tuning bandwidth. The ULX-D and QLX-D VHF systems and accessories have the same features and benefits that the UHF systems offer, including spectrum efficiency, recharging accessories and networking options.

Shure will be previewing the latest versions of its Workbench System Control Software—Version 6.12. New features improve management and monitoring of wireless system performance over the network. Version 6.12 also includes a new set of frequency coordination enhancements.

Following the launch of Shure’s line of Motiv digital microphones and recording technology, Tieline Technology, creator of remote broadcast digital audio codecs and the Report-IT iOS app, announced its support for Motiv. The digital iOS microphone line pairs with Tieline’s Report-IT app that offers reporters the ability to turn any compatible iOS device into a portable IP audio codec.

NEW YORK—While wireless mic vendors await the impact of the spectrum auctions that commenced last month, manufacturers are forging ahead with new product development.

Shure Inc. believes that its new KSM8 dynamic microphone is “changing the impression of how good a dynamic microphone can be,” according to John Born, product manager and professional audio engineer for the Chicago-based company.

Shure’s new KSM8 dynamic mic

Born claims that the KSM8 has the sound quality of a condenser, but with better gain before feedback, less stage bleed than a condenser, and that it has the smooth, flat response of a condenser that engineers gravitate towards.

Shure is demo-ing the KSM8 at the 2016 NAB Show and attendees can see for themselves if the KSM8’s cardioid polar pattern has a huge sweet spot and one of the flattest frequency responses available in any dynamic microphone.

STARTING FROM SCRATCH

Shure engineers learned from the KSM9 that adding a second diaphragm to a dynamic microphone allows the user to control the proximity effect. The question, however, was where and how to physically fit a second diaphragm into a dynamic microphone. “It took some time to find the perfect location,” says Born.

The second diaphragm is passive and is part of the rejection network in a dynamic mic. It blocks low frequencies from building up as the sound source gets closer to mic. The first, or active diaphragm, has a coil attached to it like a regular dynamic mic. The second is not electrically tied to a magnetic circuit, it’s a part of the microphone’s acoustics. In theory, the large sweet spot that results from the suppression of the proximity effect will yield a large sweet spot which engineers will find attractive because it makes the application of eq a much easier process.

Was construction of the KSM8 mechanically challenging? “Very much so,” Born said. “Reversing the flow broke a lot of things that we had to fix, and the R & D team had to start from scratch. Every single process was new, we didn’t borrow from anything else we make. We took every opportunity to tweak the polar pattern and response of this microphone, and that includes controlling the proximity effect and fine-tuning the flat top-end response. The KSM8 is the best cardioid pattern dynamic microphone we’ve ever developed. Because we started from nothing, we had every opportunity to make the best dynamic microphone available.”

BROAD PRICE RANGE

Sony’s new wireless mic product line includes the the URX-S03D slot-in dual channel receiver for the company’s UWP-D series.

Recognizing that content creators in all areas of the industry are asking for high-quality products, Sony’s product catalog now includes wireless microphones across a broad price range. With the introduction of the company’s new UWP-D series (the URX-S03D slot-in dual channel receiver), and with the “N series” update to the DWX series, Sony Pro Audio now offers anENG kit at less than half the price of the current DWX system. It’s now possible to purchase a kit for less than $600, while high-end users can spend up to $6,000. This represents a big shift in terms of integration to various sizes of cameras and affordability. 

The N Series of Sony’s DWX offers true digital transmission 24 bit 48 kHz.

Sony has added two new codecs and increased the bandwidth on the studio receiver dramatically. Previous systems had three television groupings which split the UHF range from TV channels 14 through 51 into approximate thirds, with access up to 72 MHz in each unit. The new N Series dual channel rack receiver expands that to 198 MHz in a single unit, with access up to 7,623 frequencies.

These upgrades mean that the bandwidth operating range of the systems has dramatically increased, according to Sebastian Scala, Product Manager Pro Audio North America.

“You don’t have to use different wireless systems for different regions, one wireless tuner covers all of the U.S” Scala said. “All this available spectrum results in a cost savings. You don’t have to have redundant systems, or use different bands in different parts of the country. If any area is overcrowded you simply move to another bandwidth."

If any area is overcrowded you simply move to another bandwidth.

Scala adds that users can activate a clear channel scan with any of Sony’s wireless mic products, thereby avoiding interference.

“We now offer 7,623 channels in the rack studio receiver,” he said. “This is a big deal in that it offers tremendous flexibility to the user.” A new codec in the DWX system reduces the latency spec to 1.5 ms., which Sony claims makes it one of the fastest in the industry.

SHIZUOKA, JAPAN—Users of Yamaha’s CL and QL Series consoles now have the ability to control and monitor the ULX-D digital wireless system from Shure, the companies announced. This integration reportedly provides audio professionals tools for sound reinforcement applications.

The ULX-D digital wireless systems include the Dante-enabled ULXD4D dual channel digital wireless receivers and the ULXD4Q quad channel digital wireless receivers, both of which offer 24-bit audio clarity and RF performance. With these new control parameters, users will be able to monitor the battery, RF reception strength, antenna status, frequency and audio level, and full control of gain, mute and channel name assignment.

This is the third stage of the Shure/Yamaha collaboration, according to the press release, with the control and monitoring of Shure’s ULXD4D and ULXD4Q receivers from the Yamaha CL and QL series console touch panels becoming available in at the end of April as part of the V4.0 firmware update.

NILES, ILL.—The 58th Grammy Awards earlier in February featured a bevy of performances by some of music’s names, and a number of them utilized Shure microphones. The new KSM8, established SM58 and Axient wireless mics were put to use during the show that took place at the Staples Center in Los Angeles.

Recording artist Tori Kelly performs onstage during The 58th GRAMMY Awards at Staples Center on February 15, 2016 in Los Angeles, California. (Photo by Kevin Winter/WireImage)

Shure’s new KSM8 Dualdyne microphone on a UHF-R wireless transmitter was the mic of choice for host LL Cool J, as well as for three of the musical performances from Tori Kelly, Hollywood Vampires, and for three members of Little Big Town. Grammy Audio Coordinator Michael Abbott had previous experience using the KSM8 mics on reality show “The Voice.”

The Axient wireless mic also played a role in some of the performances from the likes of Justin Bieber, who used it with a KSM9HS capsule, and the Alabama Shakes, who used a SM58 capsule. The production team also used an Axient with a SM58 capsule as the production’s spare mic.

Tributes to Lionel Richie, Glenn Frey of The Eagles, and B.B. King, meanwhile, used the “old reliable” SM58 mic. SM58 was used atop UHF-R handhelds for the Richie tribute, with hardwired versions used for the backing vocals during the Frey tribute. Robin Thicke also used the SM58 during his performance.

Shure also provided all wireless in-ear systems with its PSM 1000s. The mics have been used for the last five years during the Grammy broadcast, as it comes with a de facto standard for RF-intensive live broadcasts.

NILES, ILL.—Shure has promoted Ahren Hartman and Scott Sullivan to associate vice president roles. Hartman take over as associate vice president of engineering, while Sullivan will serve as associate vice president of global product management.

Ahren Hartman

As part of Shure, Hartman has led the development of the Axient Wireless Management Network, as well as the development of wireless microphone lines and personal monitor systems. Hartman also leads the company’s product validation engineering department.

Sullivan handles future product planning and positioning, competitive analysis, existing product line enhancements and ongoing product evaluation in his role. He has been with Shure since 1989.

Shure is a manufacturer of microphone and audio electronics. 

NILES, ILL.—Rose L. Shure, chairman of Shure Inc. and wife of company founder Sidney N. Shure, has died. Mrs. Shure had worked with the company since 1949.

Rose Shure

“We have had the privilege of working with a truly extraordinary women,” said Sandy LaMantia, Shure’s CEO. “Our company and many charitable and cultural organization have benefited from her thoughtfulness and generosity. I am confident that the legacy left to us by Mr. and Mrs. Shure will continue to endure in our hearts and in our minds.”

Mrs. Shure’s family will hold private funeral services. In lieu of flowers, donations may be made to the Sidney N. Shure Kehilla Fund, the Jewish Community Center of Chicago, or a charity of your choice.

NILES, ILL.—In an effort to be able to utilize more of the Internet of Everything, Shure Incorporated has announced that it has joined the Cisco Solution Partner Program. As a member, Shure can now unite with Cisco to deliver integrated systems to joint customers that capture value in the IoE.

Microflex Wireless

Specifically for Shure customers, this will allow them to integrate the Microflex Wireless microphone into the Cisco infrastructure. The Microflex and Cisco systems work in small conference rooms, mobile carts, divisible space and multipurpose room types.

As part of the Solution Partner program, Shure provides a complementary product offering and has collaborated with Cisco to meet the needs of joint customers.

Shure is a provider of microphone and audio electronics based in Niles, Ill.

Santo "Sandy" LaMantia

NILES, ILL.—Shure has announced that President and CEO Santo “Sandy” Lamantia will retire on July 1, 2016, and that Christine “Chris” Schyvinck will take over his positions. Schyvinck currently serves as the executive vice president of global operations, marketing and sales, and chief operating officer. She will take on the added title of president as of Jan. 1, 2016, and then take over as president and CEO on July 1.

Lamantia joined Shure in 1995 as vice president of engineering and was appointed president and CEO in May of 1996.

Christine "Chris" Schyvinck

Schyvinck has been with the company since 1989. She was appointed to lead global marketing and sales in 2006. Her promotion to the role of executive vice president of global operations, marketing and sales, and COO came back in June of this year.

Shure is a manufacturer of microphone and audio electronics based in Niles, Ill.

NILES, ILL.—Microphone and audio electronic manufacturer Shure was on hand at the recent AES 2015 convention in New York to unveil some of its latest developments. Among them was the unveiling of two new app updates as well as an update of the QLX-D digital wireless system.

QLX-D

Shure will now offer the QLX-D system in the 900 MHz ISM frequency band. The QLX-D 900 MHz is designed to be used where UHF TV band spectrum is limited or congested. Able to deliver wireless performance with 24-bit digital audio, this update provides components and accessories that optimize use in regional variations of the 902-928 MHz spectrum. It also can support up to 12 compatible channels per frequency band.

In addition, Shure also introduced the UA874XA active directional antenna and the UA834XA in-line antenna amplifier, which are also able to operate in the 900 MHz band.

The company also announced an update to the ShurePlus Channels mobile app to include UHF-R compatibility. The app provides real-time, precision monitoring of select Shure wireless system parameters from any iOS device. The ShurePlus Channels app is now compatible with the Axient wireless management network, ULX-D digital wireless, QLX-D digital wireless system, PSM1000 personal monitor system and the UHF-R wireless system.

The ShurePlus Motiv mobile recording app also had a new update that was displayed at AES. Version 1.1 of the app is designed for use with the company’s Motiv digital condenser microphones and offers new features, including five-band EQ and gain adjustment controls for the MV51 digital large-diaphragm condenser microphone, the MV5 digital condenser microphone, and the MVi digital audio interface.

Shure also showcased its new KSE 1500 electrostatic earphone system and SHA900 portable listening amplifier.