Studio 1 and 2
Lee Mun Tong, Senior Manager for Studio Sound Team was interviewed and featured in Pro AVL Asia, a regional magazine for professional audio, video and lighting industries. In the article, he shared technical details of the audio equipment and installation at our Studio 1 and 2.
This article was published on its Jul-Aug 2018 issue. Read the story below extracted from the publication. To read the complete full story, you may to go to Pro AVL Asia May-June 2018 issue. The article can be found on page 110 to 111.
(Extracted from Pro AVL Asia Jul Aug 2018 issue)
Both Studios One and Two are equipped with a sizeable inventory of Sennheiser 2000 and 5000 wireless microphone systems in addition to SR 2050 IEMs, relying on 32 and 12 channels of Digital 9000 receivers, respectively, for the bulk of their production needs. Renowned for its ability to transmit artefact-free uncompressed audio, the Digital 9000 includes EM 9046 receivers, SKM 9000 handhelds and SK 9000 bodypack transmitters. Both studios can draw upon an inventory consisting of 30 handheld, 30 lapel and 16 head worn models together with 5,000 SK 5215 transmitters.
‘The Digital 9000 system more than meets our audio requirements,’ explains senior manager, audio production resources, Lee Mun Tong. ‘We host many varied productions such as musicals, talk shows and cooking programmes in four languages, so the microphone system needs to be flexible. Reliability and audio quality are the primary considerations when broadcasting live and the Digital 9000 meets those criteria. The SKM 9000 handheld transmits digitally and does not need a compander and is free of unwanted noise, while the SK 9000 bodypack transmitter is easy to hide and easy to attach.’
Operating in master-slave mode, four Digital 9000 mainframe receivers each accommodate up to eight internal receivers. Designed to operate within a 470MHz to 798MHz UHF bandwidth, the Digital 9000 receivers in TV Studios One and Two are currently operating within the 502MHz to 510MHz and 678MHz to 686MHz frequency spectrums in either transformer-balanced analogue or digital AES3 audio output mode.
‘Spectrum is a scarce resource as the bandwidth in our studios is over-congested, but the Digital 9000 provides us with the highest frequency efficiency,’ continues Mr Lee. ‘Transmission frequencies are evenly spaced without generating intermodulation and that allows us to maximise the channel count in such a congested RF environment. In comparison to previous analogue systems we have used, the Digital 9000 exhibits very low latency, whereby you can precisely add more channels into a limited frequency spectrum. So far it has proved to be extremely stable, providing an excellent signal-to-noise ratio together with unsurpassed audio quality.’
System set up is initiated by an integrated graphical spectrum analyser that scans the RF landscape, while an RF level recorder checks reception and optimises antenna positions. The receiver automatically sets an appropriate gain to counteract RF cable losses. Antenna boosters are controlled via the receiver, which stores up to 10 complete configurations.
Technicians can manage the wireless network from a PC or tablet via the Wireless Systems Manager (WSM) software. The latest WSM v4.3 allows monitoring of the Digital 9000 receivers over the Dante network together with the audio stream of individual EM 9046 channels. ‘The WSM allows us to centralise our operations within Mediacorp,’ continues Mr Lee. ‘The entire inventory is programmed in the WSM and this allows operators to simply patch into the network via their IP-addressable transmitters.’
For redundancy, Yamaha QL5 consoles are constantly on standby should one of the Lawo boards fail during broadcasting. The infrastructure hosts AES67, Dante and Ravenna networks, with the main outputs fed to the Lawo Ravenna network for broadcasting, while the Dante outputs are routed to the Yamaha FOH and monitor consoles. Redundancy is provided with the addition of an aux output from the multi-pin connector.
In order to split the broadcast and microphone audio signals for distribution to the sound reinforcement systems, ARX MSX 32 and XTA DS8000 microphone/line splitters serve both studio control rooms and newsrooms, respectively. In addition to providing signal buffering and routing together with increased resistance to RF inter ference, the active versions offer improved audio quality. Redundancy in the studios comes in the form of additional redundant power supplies, with a single ARX PSU 32 unit automatically powering up to six 32-in/8-out MSX 32 splitters.
A combination of Focal CMS 50 and Genelec 8350A/8040 speakers provide extensive stereo and surround monitoring. JoeCo BBR64-MADI 64-track Black Box recorders are used for monitoring mobile multichannel recording and providing playback for virtual soundchecks, and CEDAR Audio DNS 8 Live multichannel dialogue noise suppressors are also in use. Interestingly, many delisted industry standards made the 12km journey from the previous Caldecott headquarters to one-north, including 360 Systems DigiCart/II Plus HD recorders for jingles, a Klark Teknik DN780 digital reverberator and Aphex Aural Exciters. ‘Some of these products are over 25 years old, but we’ve routinely serviced them and don’t want to part with these industry-standard products,’ explains Mr Lee.
Go to Pro AVL Asia Jul Aug 2018 issue to read the full story. The article can be found on page 110 to 111.
About Pro AVL Asia
Pro AVL Asia is the leading online resource for the continent’s professional audio, video and lighting industries. ProAVL-Asia.com is the online home of Pro AVL Asia magazine, the industry’s definitive B2B magazine in the region. Formerly known as Pro Audio Asia, the magazine delivers a unique blend of news from the region, in-depth reports on the latest and most exciting events and projects, expert business analysis and more.