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in-ear monitor feeds. The way to manage this problem is to have audio processing at the remote codec, which allows monitor feeds to be created at the event site by combining the commentators’ microphone feeds with program feeds and producer talkback from the production facility. This method ensures there is no round-trip penalty imposed on the commentators’ own voices, and audible delays remain within tolerable limits. Solving the many technical complexities of remote production in a way that does not change or complicate the operators’ workﬂ ows is our goal. At Calrec, we believe the answer lies in creating mixing consoles that absorb and manage these complexities so that audio operators in the production facility can stay focused on the creative aspects of sound design and production quality. Having dealt with transportation, reliability, redundancy, and latency, we must now consider synchronization. Lip sync is always a concern, and if audio and video are subject to different data compression schemes, the problem can be much worse. Clever automatic mechanisms are required to compensate for differential delays. Despite its complexities, remote audio production is now a reality. It promises to reduce the costs of live production, even for medium- and smaller-scale events, making it possible for broadcasters to cover more of them and to offer more localized coverage. Make your video sound as good as it looks www.akmmusic.co.uk ROYALTY FREE MUSIC 10% OFF oﬀ downloads & CDs Use promo code : AKMX5A +44 (0)1926 864068 email@example.com