Integrated Production Solutions at CMA Fest 2025

	CMA Fest 2025

With over 60 performances scheduled across four days, the Hard Rock Stage at CMA Fest 2025 demanded speed, precision, and problem solving from its audio team. The production approach emphasized efficiency, consistent sound, and flexible RF management, delivered through a d&b audiotechnik, DiGiCo, and Shure-based system. "We weren't reinventing the wheel, we were refining the workflow," says Nick Brown, CEO of Integrated Production Solutions (IPS) and CMA account executive for the project. "There was no room for error with that many handoffs."

Both front-of-house and monitor mixes ran through DiGiCo Quantum 225 consoles, selected for their processing power, routing flexibility, and streamlined interface. "One of the biggest advantages of the Quantum platform is that dynamic processing is built directly into every input and output channel," says Ryan Shelton, DiGiCo representative. "From HPF/LPF and four-band parametrics to modeled compressors, dynamic EQ, and multi-band tools, engineers can activate advanced processing instantly, without needing external racks or add-ons. That's huge when there's little prep time and artists are switching every 30 minutes."

Routing adjustments were just as critical for efficiency. "When a signal lands on the wrong channel, something that happens often at fast-paced festivals, engineers can re-patch instantly from the channel strip without leaving the main view. It keeps everything fast and intuitive, especially during line checks," Shelton explains. "On top of that, Quantum consoles include a full point-to-point routing matrix, so any input anywhere in the system can be routed to any output, ideal for last-minute press feeds, video sends, or whatever else gets thrown your way. It's that kind of adaptability that really makes the difference on shows like this."

The main PA consisted of d&b V-Series tops, SL-GSUBs, and Y10P front fills, powered by D40 and D90 Touring Racks.

"The well-behaved directivity of V-Series line arrays combined with our cardioid SLGSUB subwoofers ensure exceptional crowd coverage while minimizing audio bleed into the surrounding neighborhoods," says Rudd Lance, education and applications support - d&b audiotechnik.

Because artist styles and preferences vary widely, the team relied on the system's adaptability throughout the festival. "The versatility of the V-Series / SL-GSUB combination ensures that no matter the genre, transparent audio reproduction is the norm. Audiences hear the music as the artist intended," Lance says. "V-Series is a trusted, rider-friendly workhorse that, like all d&b enclosures, can be paired with any other d&b loudspeaker to deliver the precise performance that both the artist and the production crews require."

Lance also notes the rig's practicality for a fast-paced, high-turnover environment like CMA Fest: "d&b is known for being 'little, light and loud,' which is an ideal combination for tour sound applications. Smaller, lighter enclosures help reduce labor and transportation expenditures, while d&b engineering ensures uncompromised audio, regardless of the act. In live sound, there are no second chances. Everything must work as intended from the start. At CMA Fest, the V-Series / SL-GSUB rig powered by D40 and D90 Touring Racks was ready for anything."

MAX2 wedges were on standby, but most artists opted for Shure ADX/ADPSM in-ear systems, coordinated through RF Venue Diversity Fin antennas and a full Axient Digital wireless platform.

"Festivals like CMA Fest post major challenges for RF, especially in high channel count, mission-critical applications where wireless audio must have bulletproof reliability," says Kevin Duthu, HWPco/Shure Representative. "Being in downtown Nashville, urban spectrum congestion is already crowded, and adding a festival on top of that is no easy feat. Axient Digital eliminates a lot of hurdles needed to put a show of this scale on, with its wide tuning capabilities, frequency diversity, interference detection and avoidance, networking, and encryption, ensuring confidence for both engineers and artists."

Duthu adds that the Axient system's ability to adapt in real time is key in unpredictable festival environments. "With ADX ShowLink-enabled transmitters and ADXR PSM receivers, the engineer can remotely monitor and control both handhelds and bodypacks while they're live on stage, avoiding interruptions. Paired with an AD600 Spectrum Manager, the ShowLink network can detect interference and automatically move that channel to clean air. The AD600 continuously scans in the background, creating a list of open available channels and ranking them from best to worst. I can't tell you how many times a local news crew fires up uncoordinated RF equipment near a stage, but with ADX, ShowLink, and AD600, you don't need to worry. It never takes its eyes off the performance."

The full ADX ecosystem also delivered flexibility and protection for high-priority inputs and IEMs. "ADX brings a whole new level of control, confidence, and consistency when all else is chaotic at a festival," says Duthu. "The ability to make changes on the fly without interrupting the artist's show is paramount these days, especially with how much pre-production happens. For your VIP channels, the ability to use either an ADXFD handheld or two ADX1s in Frequency Diversity mode ensures that even if there was an interruption to RF, no one would notice it."

He continues, "The overall sound quality of Axient is known for transparent, natural-sounding audio, and now with ADPSM, in-ear mixes sound better than they ever have. Bottom line: a full ADX ecosystem is a full-time employee, giving you peace of mind at all times for a seamless show."

"With so many acts and so little time, equipment selection had to be about reliability and familiarity," concludes Brown. "We've built a strong partnership with CMA over the years, and this team delivered at every level. I'm incredibly proud of how everyone showed up and handled the intensity of the schedule."