Cloudbass Tests Software-Defined Remote Production With SSL System T Virtual Tempest Engine

UK outside broadcast specialist Cloudbass has completed a proof of concept for software-defined production that it says could significantly reduce the onsite infrastructure and physical footprint needed for an OB. The trial ran alongside Cloudbass' conventional OB operation for live British Touring Car Championship coverage at Thruxton Circuit. Audio and video processing stayed onsite, with remote control from Cloudbass' production gallery at its Ripley headquarters.

The project explored an alternative to traditional OB facilities, where processing equipment, galleries and technical teams sit inside large vehicles. By consolidating core services onto commercial off-the-shelf (COTS) servers and locating the main operators remotely, Cloudbass believes comparable capability could ultimately be delivered from a vehicle no larger than a small Sprinter van.

Grass Valley AMPP supported the software-defined video workflow, while SSL's System T Virtual Tempest Engine (VTE) handled virtualized audio processing on COTS servers. Keeping processing at Thruxton let Cloudbass retain full-quality signals locally and extend control to Ripley over a public internet connection. Engineering support, configuration and fault-finding could be accessed from either location.

At Ripley, the audio operator used a 32-fader SSL System T S400 control surface to operate the VTE at Thruxton remotely. At the circuit, a compact control position with SSL's Tempest Control App and a Desktop Fader Tile Plus gave the guarantee engineer independent access for monitoring, signal checking and technical support. A trackside SSL SB 8.8 stagebox provided remotely controllable analog I/O for local microphones.

An SSL Net I/O ST 2110 Bridge integrated System T with the truck's ST 2110 infrastructure. Audio feeds from the cameras were brought into the virtualized platform for processing, and completed mixes were returned to the ST 2110 network.

The proof of concept used approximately 50 Mbps of upload bandwidth from Thruxton to Ripley for control data and the audio and video monitoring the remote operators needed. Because the main processing stayed onsite, Cloudbass did not have to transport every uncompressed source to Ripley, which it says reduces connectivity requirements compared with more centralized remote production models.

SSL will present the project at the SVG Europe Sports Audio Summit on Nov. 12 at Kings Place, London, alongside Beaumont.

We are looking at new ways to build the outside broadcasts of the future, says Michael Beaumont, Technical Director, Cloudbass. Traditional hardware takes up a lot of space, consumes significant power and generates heat that then requires extensive cooling. Moving to software-based processing allows us to reduce the machine-room footprint, while remote operation means the production and audio galleries no longer need to be in the truck. That space can be removed or redeployed for other uses.

The industry is under pressure to find more efficient ways of working, says Beaumont. Reducing the amount of equipment and the number of people required onsite has clear sustainability and work-life balance benefits. A software-based model also gives us the flexibility to scale resources up or down depending on the size and requirements of each production.

Touchscreens work well for certain tasks, but in high-pressure live production environments, operators still need the familiarity and immediacy of physical faders and controls, says Beaumont. We wanted all parameters to be accessible at both ends, so that operating remotely from Ripley felt just like sitting at a physical console connected locally to the processing engine. System T gave us that complete mixing experience, while the onsite guarantee engineer at Thruxton retained independent access to the same processing.

The Virtual Tempest Engine integrated with the truck's existing ST 2110 infrastructure, allowing us to receive the audio feeds we needed from the cameras and return the completed mixes to the network, says Beaumont. We also used SSL stagebox beside the track to bring analogue microphone feeds into the system. That ability to combine software-based processing with the wider production environment was an important part of proving the viability of the overall workflow.

The bandwidth available at many circuits and venues can make traditional remote production difficult, says Beaumont. By retaining the processing onsite, we keep latency down and maintain signal quality, while only remoting the control and monitoring the operators need. That makes this model more deployable in locations where dedicated high-bandwidth connectivity may not be available.

The ability to deploy audio processing wherever it is needed and control it from anywhere gives broadcasters and production companies far greater operational freedom, says Berny Carpenter, Broadcast Product Manager, SSL. Cloudbass has demonstrated how System T VTE can reduce onsite infrastructure while retaining the purpose-built, tactile control and trusted feature set that live operators expect. Combining that familiar experience with scalable processing on standard servers provides a powerful foundation for more efficient distributed production.

The technology has reached a point where software-defined workflows can meet the demands of live production, says Beaumont. This proof of concept demonstrated the flexibility, reduced footprint and sustainability benefits we are looking for. Most importantly, the technology operates behind the scenes, without compromising the quality of the production delivered to the viewer at home.

LINK:	https://www.sportsvideo.org/2026/11/02/cloudbass-tests-software-define...
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