SALSA allows different game sounds, such as ball kicks and referee whistles, to be processed automatically by the mixing console.
Fairlight is collaborating with DTS and the University of Salford, located in Manchester, UK, to develop a new approach to assist sound engineers with live sports productions.
Collectively, the group said the Spatial Automated Live Sports Audio (SALSA) solution is a real-time automated mixing process that identifies the location of specific sound events from a grid of pitch microphones. The algorithm, developed by the University of Salford, identifies the type of sound event, its 3D location, and its duration, and automatically drives console fader movements to open the relevant mic(s). This real-world solution came to life when SALSA was combined with the object-based audio live production system co-developed by DTS and Fairlight.
Leaving pitch microphones at a fixed level can result in off-pitch crowd noise masking on-pitch sounds in the broadcast mix. With the introduction of even more mics and immersive object-based audio, it will become even more challenging to manually create the best possible mix.
SALSA helps address this problem by allowing different game sounds, such as ball kicks and referee whistles, to be processed automatically by the mixing console. SALSA can be adapted to search for different sounds, allowing the automated mixing to be applied to different sports.
A new algorithm, developed by the University of Salford, identifies the type of sound event, its 3D location, and its duration, and automatically drives console fader movements to open the relevant mic(s) on cue.
By choosing to use the open object-based audio standard MDA (ETSI 103-223: Multi-Dimensional Audio), SALSA was able to easily be integrated by Fairlight into their next-generation live production systems, supporting both conventional and object-based broadcasts.
“By combining cutting edge technology from our three organizations, the SALSA project automatically translates pitch mics into 3D audio objects,” said Tino Fibaek, Chief Technical Officer at Fairlight. “This allows broadcast mix engineers to focus on the overall mix, whilst the system does the hard labour of extracting the best possible sound from the pitch for sports aficionados.”
“We believe our SALSA software will bring a step-change in the quality of broadcast audio for sports and we’re excited to be working with Fairlight and DTS to showcase its capabilities in a practical work-flow,” said Dr. Rob Oldfield, Audio Research Consultant from the University of Salford.
“We are delighted to see this collaboration come together to create real innovation for the live broadcast community,” said Fadi Malak, Director of Corporate Strategy at DTS, Inc. “Combining the algorithm from the University of Salford with MDA was a natural fit. It really helped showcase the true potential of the ETSI standard.”
At NAB 2016, SALSA was demonstrated as part of a complete outside broadcast production workflow, from capture to reproduction. SALSA-identified objects were shown being extracted from the mix by the 3DAW system in Fairlight’s EVO.Live mixing console, and packaged into a linear MDA bitstream for contribution over SDI.
You might also like...
NASCAR Productions, based in Charlotte NC, prides itself on maintaining one of the most technically advanced content creation organizations in the country. It’s responsible for providing content, graphics and other show elements to broadcasters (mainly Fox and NBC), as w…
New England Patriot quarterback, Tom Brady, entered Mercedes Benz stadium in Atlanta, GA on February 3rd having already won five Super Bowl games. And through four-quarters of play, all delivered by a television crew of hundreds of technicians, sports casters…
Every Super Bowl is a showcase of the latest broadcast technology, whether video or audio. For the 53rd Super Bowl broadcast, CBS Sports will use almost exclusively IP and network-based audio.
This year’s Super Bowl LIII telecast on CBS will be produced and broadcast into millions of living rooms by employing the usual plethora of traditional live production equipment, along with a few wiz bang additions like 4K UHD and a…
Are you an IT engineer having trouble figuring out why the phones, computers and printer systems work but the networked video doesn’t? Or maybe you have 10-15 years of experience with video production equipment but really don’t understand why…