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In fact, if you're planning to use any of the new transmission links for covering sporting events, you'll probably need a new game plan to go along with the new equipment. ISDN and POTS codecs using bit-rate reduction have noticeable audio delays, for example, so a mix-minus at the studio is now imperative for those events in which studio announcers will talk live to a sportscaster on the field. And on the field? Broadcasters now need a field mixer, among other gear, which can handle whatever is thrown at it.
"There are more of these unique sports situations where you've got two or three people who have to talk to one another in a very fast-paced fashion," said Lynn Distler of Comrex, which makes its Codec Buddy four-channel mixer with a spotter input and a separate telephone interface for a producer and engineer to talk back and forth separate of the main ISDN or POTS feed. The Codec Buddy, complete with backup frequency extender that can be used on a cell phone, is the travel companion to Comrex's HotLine POTS codec and Nexus ISDN codec — all of which can be rolled into a 14-pound travel case.
Marti's Smarti is likewise a small carry, combining a POTS codec and four-channel mixer with IFB headphone mix into one. MUSICAM USA's FieldFoneTM POTS codec and portable RoadRunner ISDN codec weigh in light too, and add new versatility to telco line usage. The former, for example, has an IFB for remote talent, and both offer relay contact closures so the remote operator can send cues down the line to operate equipment back at the studio.
Many stations, however, can't afford, nor do they need, an all-star equipment lineup. In these cases, JK Audio's Remote Mix 3 is a good alternative. It's an all-in-one mixer/telephone hybrid for broadcasters who want to cover events with hookups to PBX, POTS, ISDN or even cell phone. JK Audio President Joe Klinger pointed out that this universal box can be used during off-season by a news reporter, who often doubles as the sports announcer anyway. (JK Audio also makes the THAT-2 telephone handset, another useful tool in the field.)
For sporting events way out in left field, there are products like the Marti Cellcast and the Gentner Microtel, a mini mixer for telephone interface. Marti's newly acquired Cellcast, for example, has four inputs and incorporates a 3W cellular telephone module and a frequency extender, "so you still get only 3-1/2 kHz of audio bandwidth, but it sounds better because you get more of the low frequencies," said Jim Godfrey, the president of Marti.
As for microphone inputs, most mixer manufacturers say the more the merrier — within reason. Of course, Shure Brothers is big on microphone inputs, and offers six on its new field mixer, the M367. That's two more than its predecessor had, plus the M367 is 30dB quieter. "That's the kind of thing that's becoming more important because of ISDN. This is studio quality transmission, so you need a studio quality mixer with good headroom," said Shure Brothers' Tom Krajecki.
Expect field equipment to become even more versatile and high-end as time goes on. Distler pointed out that many stations are starting to take audio source and storage equipment to sporting events to mix sportscasts on-site, rather than pay staff at the studio who could be doing something else.
Overall, a new remote solution can run from under $1,000 to beyond the $10,000 ballpark, so you'll want to get the most play you can from the purchase. Call your field representative at RF Specialties for additional coaching.