Love production audio

Questions about ATEM Switchers, Camera Converter and everything live!
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Kevin McGrath

  • Posts: 69
  • Joined: Wed Apr 20, 2016 12:26 am
  • Location: St. John's Newfoundland CANADA

Love production audio

PostMon Jan 07, 2019 11:27 pm

I was wondering what people are using for audio mix

Are you running Dante.

How do you get audio into you atem. AES or analog

Any special equipment needed

This is all a little too knew for me
I would like to control the mix over Ethernet
Have one of those stage boxes
Atem tvs , studio converter 4 camera converters, hyperdeck,40x40 videohub. Master control, jvc gy hm700 &170 2 Panasonic aw he60 aw he 2

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  • Joined: Fri Aug 02, 2013 5:26 pm
  • Location: SLC, UT

Re: Love production audio

PostTue Jan 08, 2019 6:09 pm

As a broadcast network mixer since the 80's, I have a little different perspective than most ATEM audio types. I am all about having a real console external to video for the mix, and full integration with coms is a must for me. My shows always have several mixes going on and the ATEM mixer just doesn't cut it. The only thing we use ATEM audio for is either embedding the final mix into the video product, or using the AFV capability as a smart de-embedder to feed the audio console. Most of the time we don't use ATEM audio at all...

Even tho I mix on large format Calrecs for network jobs (Calrec Apollo console-my FAV!), I still use a similar yet scaled down approach for my ATEM world. Our larger fly packs have either a Digico S21 or Yamaha DM1000 console. Our smaller fly packs have Behringer X32 Core with X-Touch control surfaces. All boards have Dante cards. We have added Dante interfaces to just about everything in our inventory. While adding cost, the benefits have included very streamlined cabling, much reduced setup times, and recallable show patching. Dante is also very easy to move over fiber cable, which we use extensively.

All of our systems also have external intercom systems, fully integrating several channels of com, talent IFB, and remote site links. We can hand off mixes from the console to the intercom allowing for cam ops to hear show, talent mixes with IFB interrupt, mix-minus audio to remote interview sites...the list is endless. Granted this is way beyond a lot of ATEM shows but we find these needs very frequently in what we do.

After many years of broadcast at several levels, one common thing I see is lack of funding/attention to audio. From a capital perspective, it's the cheapest part of the gear yet always the first cut. People will swoon over a Red camera/color grading/visual effects, yet wonder how to connect a single microphone. IMO, great audio in a show will always outweigh poor video...not so much the other way around. I've turned down many a production because the management didn't care about the sound. Almost all ended up being poor shows, on money and audience levels.

I do love the people that are passionate about making sound better. We can always use more of them! Hopefully this topic will bring some out.
Greg Bellotte - owner

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