At this year’s GRAMMY® Awards, Shure microphones and wireless technology once again played a crucial role in delivering pristine audio to millions of viewers around the world.
With ATK providing all wireless equipment for this year’s production and long-time audio partners returning to the event, the ceremony showcased reliability, sound consistency, and flawless broadcast performance thanks to Shure wireless systems: Axient® Digital, AD PSM in-ear monitoring systems, and PSM® 1000, as well as an extensive list of Shure vocal microphones.
Shure wireless powers the broadcast
Thanks to years of collaboration with the GRAMMY production team, Shure solutions supported the full spectrum of live performances and presentation moments throughout the show. The engineering team deployed Axient® Digital transmitters and a suite of AD4Q Receivers—expanded from previous years to accommodate additional channels—ensuring seamless operation in the high-density RF environment of Los Angeles’ Crypto.com Arena.
Shure remained the artists’ preferred in-ear wireless system throughout the night. Host Trevor Noah once again relied on Axient Digital PSM for his IFB, configured in spatial diversity mode by RF Coordinator Steve Vaughn.
Leading artists trust Shure
A wide range of GRAMMY-winning artists selected Shure Axient Digital handheld transmitters and vocal microphone capsules for their live performances:
- Tyler, The Creator – SM39 Headworn Microphone
- Lady Gaga – SM39
- Bruno Mars – BETA® 58A
- Reba McEntire – Nexadyne™ 8/S
- KATSEYE – Nexadyne 8/S
- Leon Thomas – BETA 58A
- Lucky Daye – SM58®
- Rafael Saadiq – SM58
- Anthony Hamilton – SM58
- Jon Batiste – SM58
- Rosé – BETA 58A
- Olivia Dean – SM58 (wired)
- Sombr. – Custom Chrome SM58
Additional artists, including Sabrina Carpenter, Lola Young, The Marías, John Legend, and Pharrell Williams, also used Axient Digital wireless handheld systems.
Shure SM39 headworn microphone earns high praise from GRAMMY engineers for its innovative sound
This year saw expanded use of the SM39, with several artists choosing the headworn microphone for its clarity, warmth, and vocal isolation. GRAMMY broadcast music mixer John Harris shared his praise:
This year’s GRAMMY Awards brought the usual challenges, and during our first audio meeting I learned that what would likely be my most difficult segment (Lady Gaga) came with a surprise: she wanted to use a headset microphone. Ah! Headsets are always a challenge. They never behave or sound like a handheld, and I was sure it would be an uphill battle. During the first rehearsal, I didn’t look at the video, I just listened and thought: 'Great, she’s not using the headset'. But she was. It was tucked into her elaborate costume, right against her mouth, and it sounded fantastic. No excessive EQ, no compressor backing off due to proximity issues, none of the density or breath noise that headsets often create. It was incredible. I discovered it was the new Shure SM39. Revolutionary. High-end, game-changing performance. I have no idea how they achieved it.
Jamie Pollock, FOH engineer, added: "I was impressed with the vocal quality I was able to achieve with the Shure SM39 on several artists at the 68th Annual GRAMMY Awards. This microphone delivered a clear, direct sound that I could quickly place in the mix. I was able to preserve dynamics and use less processing to control unwanted sounds".
Shure nexadyne delivers exceptional clarity across diverse vocal styles
The next-generation Nexadyne™ 8/S capsule also continued its rapid adoption among top artists. With Reba and KATSEYE performing using Nexadyne 8/S, the engineering team reported exceptional and consistent vocal presence throughout the broadcast. KATSEYE monitor engineer Nathan Langford shared his experience with Nexadyne:
"When selecting a capsule for six unique voices performing across a wide range of genres and styles, I found that Nexadyne brings a consistent tonal character to all members of KATSEYE. The high frequencies—critical for vocals in the mix, especially female vocals—remain smooth and present. I didn’t want a variety of different capsules on stage tailored to each individual voice; I wanted one capsule that could capture all six voices the way they need to be heard, whether they’re singing, rapping, or shouting into the microphone".
Nathan continued: the rejection we achieve from the Nexadyne 8/S is critical for a variety of reasons. One is that the six members are often in very close proximity on stage, so I look for every dB of side rejection I can get. Six open vocal microphones on stage can be challenging, so the rejection we can achieve is essential to keeping microphones 'closed' using expanders and primary source enhancers. Maintaining sound quality while delivering the technical performance expected of a supercardioid microphone is ultimately what I’ve found in the Nexadyne 8/S.
A reliable workflow and a winning team
The GRAMMY Awards brought back the same core audio team as last year, ensuring complete continuity in RF management, mixing, and FOH operations. ATK provided the wireless equipment for the broadcast, while Soundtronics handled microphone and antenna infrastructure.
Seeing multiple artists use our new headsets, our recently launched wireless capsules, the Axient Digital PSM system, and the wired SM58— a GRAMMY Awards standard— is incredibly rewarding. We’re grateful that so many artists and engineers trust and rely on Shure products, shared Ryan Smith, Shure Artist Relations Manager.
