TRULY REMOTE

Now, no-compromise audio recording and mixing can go anywhere the performance is, even if a truck can’t.

Realtime, high channel-count remote mixing is now a reality

  • The compact recording and mixing systems are on site.

  • The engineer is in an off-site studio using a console in a tuned room, connected to an on-site production intercom.

  • 128-channel capability via analog, MADI, Dante, or AVB.

  • Full quality, uncompressed audio, ATMOS ready, locked to picture.

  • Unprecedented redundancy

 FAQS

  • The HEAR remote system features a single on-site rack at the performance venue, handling all audio processing, including mixing and recording up to 128 channels. Connected via a secure VPN to a remote studio, it allows for real-time monitoring and control without disrupting the broadcast. Control data from the remote mixing console is sent back to the on-site rack, enabling the engineer to mix with a physical interface as if on-site. With all processing done locally, the mix output can be sent directly to broadcast in full quality, uncompressed audio, ensuring real-time, picture-locked performance without internet transmission of the broadcast audio.

  • The only information traveling over the internet to the remote studio is the control room monitoring the remote engineer is listening to, and the control data from the console surface. If the internet should fail, the mix will continue to broadcast uninterrupted via local connections.

     

    In addition, it would then be possible for a different remote enginner on our team in another location to assume control of the mix, again with no interruption to the broadcast stream.

  • Because the audio processing happens all on-site, there is no latency. The real-time mix output of the HEAR remote system is locked to picture.

     

    There is a small, acceptable amount of latency for the engineer in the remote studio, which does not compromise performance.

  • The HEAR system is fully redundant - both recorders and mix engines. If a mix engine should fail, a second system is instantly on-line, so quickly that most people can not hear the change over. The remote console can then switch to controlling the backup system with a single button push at the remote location.

     

    Main and backup recorders are standard practice in the industry, and this is true in our systems as well. All 128 inputs are distributed to both mixers and both recorders, all of which are running on completely independent computers.

  • The HEAR remote system includes interface for up to 6 channels of production comm. Once we are connected, the remote engineer simply becomes a button on your local comm panel, exactly as if they were in a truck outside the building.

  • We have several options for this:

     

    1. The artist can visit the HEAR rack at the side of the stage and listen via headphones and communicate with the remote engineer via comm.

               

    2. We can easily set up a listening booth in another room, also connected to the output of the mix engine where the artist can listen on studio-quality reference monitors and communicate with our remote engineer via comm or video chat.

     

    3. We can email a web link to anyone that would allow listening to the mix output in real-time via any web browser.