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Chiefs Football Surrounds the Crowd
The BSS system also eliminated the need to carry external processors. The built-in DSP can be applied to add dynamics and time delay processing as needed. This effects processing is also useful in setting limits when needed. For example, if the crowd noise drastically and quickly increases, the audio engineer may not be quick enough to reduce the crowd feed manually. A smart AGC is applied to keep the crowd noise under control so the play-by-play is not covered up by the roaring crowd.
The BSS system is controlled with a Windows GUI, and various operational screens can be created as needed. The glass console idea works, but there are times when a physical interface of buttons and faders simplify things. For this, Israel's company wrote an API to communicate with the BSS Soundweb product line via a JL Cooper MC-3000XL. This provides several soft buttons and dedicated faders to allow the audio engineer quick access to multiple elements. A fader can control an individual source or a complex submix. This simplifies operation so the engineer does not have to use an on-screen GUI. The soft buttons are programmed to execute various salvos, such as breakaways and rejoins.
Where does the surround come in? There are two more mics placed two levels up in the open window booth where TV cameras are set. This stereo shotgun pair is separate by about 12 feet. The mics are pointed higher then the field mics. This pair of mics are panned had rear left and hard rear right. The PA feed is also fed the rear speakers at a low level.
The on-site Enco playback system also takes advantage of the rear speakers. While the Enco DADpro is a stereo player, the effects are produced in surround and then a DTS DaySequerra Downmix encodes the file to stereo. At the game, the stereo file is played through a DTS Day Sequerra Upmix to restore it to surround.
The complete surround mix then feeds a DTS DaySequerra Downmix to encode the surround information to a stereo audio feed to the station for network distribution. If a listener does not have a surround decoder, he hears a full stereo mix.
A Musicam ISDN codec carries the stereo game mix to the studio. The two-channel return path of the codec has an on-air mix-minus for the broadcast on one channel and the intercom communication link on the other channel. A POTS line is also installed, which carries a dedicated communication link from the executive producer to the studio. The return side of the POTS line is not typically used.
At away games, the postgame feed is sent using a Comrex Access from the locker room or pressroom tied to a wireless air card or Ethernet connection. The Access can also be used for a backup audio connection if needed, as can the POTS line.
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