The Country Music Association Awards (CMAs) bring together the best in country music for a night of unforgettable performances and emotional wins. While fans focus on the stars on stage, a small army of audio professionals ensures every note and lyric is pitch-perfect. Among them is Sennheiser Artist Relations Manager Tim Moore. He works tirelessly behind the scenes to guarantee that artists, engineers, and production teams have the tools they need for a flawless show.
Tim recently took some time to share a bit on everything from how Sennheiser prepares for events like the CMAs and the importance of artist-engineer relationships to the unique challenges of live televised performances.
Award shows like the CMAs are a huge undertaking. How early does Sennheiser's planning process begin, and what does it involve?
Sennheiser’s planning for the CMAs starts about a month in advance. As soon as the artist roster is available, I'll get a performance list. Then, I consult with the production team to ensure they'll have the right gear for each artist. Those audio engineers and production managers are our primary contact for the artists' tours, so we support them first.
We've been working with some of these teams for 20 years and developed a rhythm with them. They're great partners, and we support each other really well. The artist might not even be part of the conversation about gear for a show. It's the engineers who rely on us to ensure consistency.
How crucial is it for those teams and artists to have a familiar setup in such a fast-paced, high-stakes environment?
The ability to replicate a touring setup at an awards show is crucial. It's already a different type of performance with camera blocking and other technical considerations. Having the same microphone or in-ear system is a small part of that. But it helps artists focus on their performance rather than adjusting to new equipment.
Do the artists and their production teams use the same equipment as they do on tour?
A lot of times, yes. Let's say an artist's team uses a Sennheiser 6000 Series Wireless with a 935 capsule; when they're advancing for the CMAs, they'll request the same setup to maintain familiarity. The production company coordinates with providers like Clair Brothers or ATK to source the necessary equipment. If anything special or last-minute comes up, that's where we step in.
In those cases, I want to be a seamless part of the team. My job is to make their lives easier. If there's a challenge involving Sennheiser gear or a special need, we are standing by to help. Whether it's coordinating a special piece of gear or solving a last-minute issue, we're there to support them.
So, even among Sennheiser artists, you may be dealing with different systems for each of them.
Yes. The choice of microphones and capsules primarily comes down to the artist's engineer. They'll decide based on the artist's needs. For instance, Jelly Roll uses the MMD 935 capsule, Kelsea Ballerini prefers an MD 9235, and Post Malone opts for an MM 435. Each choice depends on factors like the artist's vocal style, performance setup, and even stage movement.
Do you also support the instrument and in-ear wireless systems for the musicians and their instruments?
For sure. Live televised performances require meticulous attention to detail. Each musician needs their own in-ear mix. The drummer might need a click track, while the keyboard player may require other types of audio cues. It needs to seem just like a typical live performance to them. It's all about making it look and feel like a live concert.
What are some of Sennheiser's biggest challenges when supporting live events like award shows?
They always involve tight schedules and unexpected hurdles. But the show must go on, so you adapt and improvise. For example, a few years ago, an artist requested a silver microphone at the last minute. We didn't make that model in silver, so I actually went home, painted their microphone, and brought it back the next day. It wasn't a finish that would last months on tour, but it worked for one song on camera. [Laughs]
Another challenge is managing wireless frequencies in crowded venues. Award shows aren't always that bad. But take the Super Bowl, for example. It requires special FCC approval for microphone tuning due to the number of wireless devices in use. But whether it's the CMAs or the Super Bowl, it's about ensuring everything performs reliably in that environment.
You obviously put a lot of preparation work before these televised events. What does your job look like on show day?
I'm mostly on call. We've planned so thoroughly that most things are already in place. I'll attend rehearsals to support our artists, but once the dress rehearsal ends, I'm out of the way unless needed.
Remember, there's a tremendous audio team managing patches and routing for each performance. They're consummate professionals, and their ability to pull it off is incredible. I've been doing this for years, and it still amazes me. So, I'm just there to solve problems without interfering.
With so many artists performing, you probably run into a lot of industry peers. Is there any competition?
Award shows are about celebrating music, not competing. If I'm there and the Shure or AT (Audio Technica) people have a problem, we help each other out. It's about making the show a success.
The goal is to have everything run so smoothly that no one knows we were there. Whether it's planning ahead or solving last-minute issues, our job is to support the artists, engineers, and production teams so they can focus on delivering a great performance. Our gear will speak for itself.
