36 ESPORTS Audio
Michal Mika, sound engineer and owner of Polish broadcast audio company 120dB, is well placed to chart the development of esports audio. Having started work on such events around eight years ago, he has watched them develop from relatively basic productions “based around a console and a couple of microphones” to the AV spectaculars organised for events like the Intel Extreme Masters – the final of which, at Spodek arena in Katowice, has been a repeat engagement for 120dB for some time. Mika says “communications reliability and flexibility” is essential for esports events. There has to be “robust comms” with near-zero latency for all core elements of the production, including between the control rooms and the broadcast facilities provided by 120dB. In terms of equipment, the company is a long-term user of Riedel Communications, typically using Artist scalable digital intercoms and “between 16 and 20” Bolero wireless beltpacks on its esports productions: “We love the reliability of the Riedel systems and the fact that they are easy to set up and use,” Mika explains. With so many moving elements in esports events, Mika confirms that extensive planning for both the communications commences “about three or four months in advance of the big events, then we tend to have a few days of rehearsal [at the venue]”. That way, any potential issues can be ironed out and “we can be assured of the seamless comms that we require”. “COMMUNICATIONS RELIABILITY IS ESSENTIAL”
in a different way. “They are more inclined to make suggestions that are ‘out of the box’,” says Fournier. “Esports is adopting practices that have served the sports world for many years now,” says Letson. “However, a key approach that esports uses that’s different to more traditional sports workflows is the inclusion of the arena mix in the broadcast mix. The desk providing the PA mix for the arena is fed directly to the broadcast desk to be included in the main output. This is designed to bring the viewer’s experience more in line with that of the audience.” The concept of remote production – in which more broadcast tasks and personnel are concentrated back at the broadcast centre to optimise the use of resources – is also exerting an influence. Letson recalls a recent project with Riot
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