ATEM 1ME and Hyperdeck Studio audio

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ATEM 1ME and Hyperdeck Studio audio

Not wanting to wade in on the ATEM audio debate but just wanting a suggestion on the best bit of kit to handle the audio from and to my 1ME.

I am currently using an 1ME with a Hyperdeck Studio for recording and another for playback. The primary use of the system is for Imag. 

For the recording we receive a aux from the PA's sound desk which they also use for their audio recording but we like to monitor the levels and check it with headphones.
We then send a feed from the Hyperdeck for playback back to the sound desk. It is also nice to monitor the levels from that so I can be sure everything is OK at our end without interrupting the sound crew.

Ideally I am looking for ideally a 1U rackmount mixer with level meters and headphone amp that can adjust levels and send the recording feed to a separate output from the playback feed. 
It would be nice to have a couple of extra inputs for computer audio as well to send back to the sound desk.

Is there a bit of kit that will do what I need without costing loads and being over complex?

From what I have seen so far the options are either zone mixers which have no monitoring or multi channel mixers that have no zones.

I am currently using the 1ME to embed the audio for the recording Hyperdeck and an SDI>Analog mini converter to de-embed the audio for the playback. If I could free up the mini converter that would be a bonus but happy to purchase an extra one if needed. 

Any help would much appreciated.

Tim 

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http://tascam.com/product/lm-

http://tascam.com/product/lm-8st/ might be just the ticket?

oh and sorry for moving your post - it seems to of broken the formatting! I don't much care for the wysiwyg editor we currently have here, it seems toi mess things up a fair bit :(

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Visby
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Samson SM10 has two buses and

Samson SM10 has two buses and headphone amp. Put recording feed on A and playback feed on B.
You can monitor them separately, To be honest you need small fingers to operate the thing, but it is 1U
with 10 channels and two buses, what do you expect ;)

http://www.samsontech.com/samson/products/mixers/sm10/sm10/

/m

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Thanks for the

Thanks for the suggestions.

It looks like both of those would work.

No problem with moving the post. It took me a few edits to get lines to start on new paragraphs.

I will post a picture of my ATEM rig at some point. It is a bit bigger than the carry case rigs on here but has all the control, conversion and monitoring gear in one place that used to take hours to set up.

Now I can just roll in the case and plug it in

Tim 

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Eindhoven
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Joined: 02/09/2012
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other uses

Hi,

What a heated discussion (in the older thread) about how to work properly... There is of course something that can be said for only "allowing" the original broadcaster's way. With synched cameras and the correct amount of (audio) delay inserted properly. I understand why the broadcasters here are so strongly defending it. It is the only way to do it all perfectly.

I see however a very important point from Sharon being presented here from the beginning, being that more simple users will not always want the very best solution possible. Because it is too expensive and takes too many people. Then the MX50-way, frame-synchronized and with a simple audio mixer on board, is a very interesting way. This is proven by the sales figures of those devices. And I think most people didn't use its audio mixer. I've seen them in action some times, but never was audio connected on those mixers.

Now, with having the audio mixer in the ATEM, do you get something in that will bite you in the tail in the future ? For this audio mixer I just can't imagine it would be like that. It's not in the way, it doesn't change other part's behaviour... So what's the problem with accepting that it's there ?

I'm new to this forum, I went here to check out if I can do with an ATEM TVS what I have in mind. That is programmatically control it from software together with other hardware. This seems to be possible. I'm thinking about also controlling audio from the TVS, but only where I need the audio to follow the video (rare for me). This because I don't have a digital audio mixer with possibilities to programmatically set the level when switching video. I normally don't use audio embedded in SDI because the audio sources are normally not at the cameras. I just mix audio with an analog mixer, add a delay (Rane AD 22B) and convert to AES (Kramer 6420N).

For me the audio mixer would become useful if I can also set the amount of delay per source. For all sources, including the AES in that the TVS has. I know a bit about digital design (FPGA's and so), and I think Blackmagic can get this in fairly easily. Only up to a couple of frames need to be compensated (say 12, for a delaying camera, a 4:3 to 16:9 converter and an slow vision mixer in between). And maybe the internal frame synchronization delay does not need to be compensated since that audio may already be delayed perfectly in the framebuffer (depending on BM's implementation).

I think the audio meters (I will not say VU meters :) ) on the audio mixer are important, even if you don't use the mixer with other inputs than the AES set to exactly 1. They allow a quick visual inspection so you can see if the levels are not too high on the program output. I need that because I have no level indicator on my analog to AES converter. Also I don't exactly trust my streaming software to indicate this correctly. Users that don't understand and try to lower the level here digitally, would also not understand an analog mixer where you also need to make sure the intermediate levels are within a certain range. Leaving the mixer feature away would therefor not have made a difference for those users that simply don't understand what they are doing. But it will be useful to me.

Joris

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Eindhoven
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zone mixer

Tim,

I'm now using a Behringer ZMX8210. It has 3 busses so you can go stereo and use the 3rd bus to check a single source.

Advantages:
- 6 microphone/line inputs
- some additional RCA line inputs
- phantom power switchable per microphone source

Disadvantages:
- little recessed switches that require a pen or screwdriver to toggle
- no pan per microphone, only L and/or R switch.
- no XLR but screw connectors so requires an XLR rack panel.

I am thinking of getting a normal audio mixer with 6 microphone inputs. That's a lot bigger, but much more comfortable.

Joris

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Northampton,
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Zone Mixer

Thanks for the replies. 

With the release of the audio mixer for the ATEM I don't need to monitor the audio going out so I now have a Behringer HA4700 so I can listen to the audio coming in.

Tim