Sennheiser is widely used at 59th annual Grammy Awards

Sennheiser is widely used at 59th annual Grammy Awards

Bruno Mars, Adele, Beyoncé and Ed Sheeran rely on Sennheiser Digital 9000 system

The 59th Annual Grammy Awards evening was punctuated by command performances by Bruno Mars, Adele, Beyoncé, and Ed Sheeran, each relying on Sennheiser’s flagship wireless technology: the Digital 9000 system. Others, including Lady Gaga, the Weeknd, and Katy Perry, also turned to Sennheiser wireless equipment for their performances, which were viewed by nearly 25 million television viewers around the world.

 

Adele opened the show with a performance of her blockbuster hit ‘Hello’ on a Sennheiser Digital 9000 system featuring the SKM 9000 transmitter and MD 9235 microphone capsule combination to transmit a powerful vocal performance. Sennheiser’s Digital 9000 system was also employed by Beyoncé, who performed her songs ‘Love Drought’ and ‘Sandcastle’ through a Sennheiser SKM 9000 and MD 5235 transmitter/capsule combination. Bruno Mars was also among the artists who entrusted his performances to Sennheiser’s Digital 9000 system.

 

“In a situation like the Grammy Awards, you have a very limited amount of time to dial in your settings,” Mars’s front-of-house mixer Chris Rabold says. “What’s great about Sennheiser and the Digital 9000 is that your sound is essentially there as soon as you turn the system on.”

 

Monitor engineer Ramon Morales adds: “The biggest concern with any wireless technology is always reliability, and Sennheiser has always given us that. The Digital 9000 is even more robust than our previous Sennheiser system, and it sounds even better, too.”

 

Chris Rabold (right) and Ramon Morales (left).

Chris Rabold (right) and Ramon Morales (left).

 

Rabold and Morales chose the SKM 9000 transmitter paired with the MD 9235 capsule

Rabold and Morales chose the SKM 9000 transmitter paired with the MD 9235 capsule for Mars’s vocals based on both its performance and pedigree. “We have experimented with many capsules over the years on his voice, but always kept coming back to the MD 5235, which has been his staple for many years,” Rabold explains. “Now the MD 9235 captures everything we love about the sound of the MD 5235 while taking the detail even further, all while maintaining that familiar smoothness that we love.”

 

“One thing I love about the Digital 9000 is that regardless of how much level you push into those mics, there are no wireless artifacts in the signal,” Rabold says. “Compared to other wireless systems, which often have a certain crunch to them when pushed hard, the Digital 9000 maintains an extremely natural sound at any level. The result is a much smoother top end, which in turn makes the low-mids in the vocal sound thicker.”

 

Switching to the Digital 9000’s HD mode meant no audio data reduction, according to Morales. “Using the HD mode really made a difference,” he says. “It just opens up the microphones in a way that makes it really easy to place them in the in-ear mixes.”


TM Broadcast International

Broadcast and audiovisual digital magazine


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