When live streaming an event where the audio is handled by another team, what do you ask for first and what do you carry just in case?

39:36Let's go to the next question, Alexander. All right. Next up is coming in from Guy Cochran in Seattle, Washington. When live streaming an event where the audio is handled by another team, what do you ask for first and what do you carry just in case? Good question. Jeff? So I would ask for stereo line level balanced on XLRs. and I would watch the response I get from that

40:07that might tell me a little bit about what kind of audio team I'm dealing with. I would also say pro line level and see if they understand what that is. I would ask for it to be not overly processed as far as dynamics. And what would I carry? I would carry something that I could put that into that would allow me to control levels,

40:30maybe have a bus compressor, probably like a little SSL 6 mixer would be something handy to have just in case. Also, it would give me a four-input mixer that if their entire team goes south, at least I could pick up a couple of mic and a couple of line-level inputs and put something together. But the first thing is about reading, is this audio team competent?

40:54So if they glaze over when you say balanced line-level, you know to be concerned. Mickey, your thoughts? With this, I think, assuming you have had a pre-production meeting aligned with this team, there shouldn't be really much that you have to bring just in case everything is planned. I'm curious with this situation, Guy, if this other team is creating a broadcast mix, if they're actually mixing for the broadcast, or if this other team is just like for the front of house mix or some other aspect of sound or audio within the production.

41:38If they're just doing front of house, then I would just take splits of everything and bring my own full broadcast mixing console and team to handle the broadcast mix. Because what goes out in front of house is rarely what you want to go out and broadcast. Just do the broadcast mix separately. But if this is actually a team that's doing the broadcast mix and you've aligned with them,

42:04You know, they're expecting a proper, you're expecting a proper broadcast mix to get to you. It's more of how do you interface with them. If they're just delivering analog, then bring your own cables, analog audio adapters. I would go ahead and, of course, like bring tools for troubleshooting. Basic thing, multimeter. You can solve a lot of issues or at least diagnose a lot of issues with analog audio with a simple multimeter.

42:36You don't have to go this expensive. You can get really affordable multimeters for less than $40, $30. Cubox, a good old problem solver when you're trying to troubleshoot analog audio. There's also the Sonnet soundboard, very popular now. Now, again, this is for analog audio. It has a signal generator, and you can also test the balanced audio cables or unbalanced audio cables. I don't know why I do unbalanced.

43:09If you need to test something like AES-3, NTI has the Minirator. It can generate AES-3 and also analog audio signals and test those in case you're doing AES-3. In case you're doing MADI, DirectOut has the Analyza, which can do both fiber and also MADI over coax. It also has a signal generator built in. If you are doing fiber, you want to bring a little fiber power measurement generator, those little fiber optic pens, as well as a little meter with you.

43:50and of course a bunch of clickers and also cassettes to clean fiber optic ferrules at the connectors. It's more of a lot of troubleshooting on that. And if in case they're not generating a broadcast mix, bring your own console again. Also, I should add that bring a whole bunch of room mics because you want a bit of room or liveliness in your broadcast mix