Tech Focus: Augmented Crowd Sound, Part 1 -A Category of Dedicated Sound Systems Is Born

Tech Focus: Augmented Crowd Sound, Part 1 -A Category of Dedicated Sound Systems Is Born Speakers need to act as the mouth of the crowd' By Dan Daley, Audio Editor

Thursday, April 8, 2021 - 10:40 am

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Created last year in response to the coronavirus pandemic, the new category of augmented crowd sound has spawned new ways of putting that sound into sports arenas and stadiums that require virtual crowd noise.

New sound systems have to be able to propagate specific sounds - which can cover particular areas of the frequency spectrum - clearly and articulately and yet remain distinct from other sounds pumped into the venue, such as announcements, music, and sound effects. The process of adding crowd clatter to the sound of sports has become known as sweetening, the same term used by Hollywood film and television postproduction sound-effects mixers, and, in that sense, reflects the fact that, at least during the pandemic, sports sound has become an almost cinema-like process, an aurally augmented reality.

Presence and Proximity Firehouse Productions, a pioneer in the crowd-sound-system category, created both the playback and PA systems for the NBA bubble in Orlando last year, for the league's All-Star Game in Atlanta last month, and for the recent NCAA March Madness tournament played across seven venues in Indianapolis.

Firehouse Productions implemented playback and PA crowd-sound systems the NBA All-Star Game in Atlanta last month.

Two key elements - presence and proximity - became clear early on in building believable sound systems in venues, according to Firehouse VP Mark Dittmar, who oversaw development of both the playback and the PA systems used for pro and collegiate basketball as well as for the NHL this season and last.

We've seen venues try doing this with small micro-PA speakers or monitor wedges facing the court, and it just doesn't work, he says. We're using concert-grade line arrays and running them at 85%-95% of their power, 6 dB off their clipping point, to achieve the impact you need on a court-facing system.

It's also the only way, he continues, to get the crowd to sound accurately on-air when you hear it through the effects microphones in the venue. It's the sound of the crowd through the ambient space of the arena and then captured by the broadcast microphones that makes it sound authentic.

In other words, says Dittmar, crowd-sound speakers need to act as the mouth of the crowd, with the content unadorned by artifacts, such as whistles, individual voices, or ambience from the space in which it was recorded.

That's how you approximate the 103-105 dB that a live crowd can reach, he says.

Proximity is also critical. Whereas house PA speakers are usually hung between 30 ft. and 40 ft. above the floor, crowd-sound PA systems need to be much closer to the action, as little as 12 ft. off the court, to generate the necessary impact. That also necessitates speakers whose coverage patterns can be very tightly focused, in order to not conflict with the house PA systems.

However, some carefully mixed overlap is actually necessary in certain parts of the arena, says Dittmar, when a bit of the crowd sound is spilled into the audience sound system and perhaps some of the DJ feed is worked into the crowd-sound system to create a blended boundary between the two.

As venues are allowed to welcome more fans, the crowd-sound PA systems will remain in the venue but will at times have to be moved so as not to interfere with audience sightlines.

Immersive Baseball Sonofans had perhaps the most ambitious onfield crowd-sound plan of all. Early in the season last year, the company ringed the field at the Arizona Diamondbacks and the Los Angeles Dodgers stadiums with 10-12 line arrays pumping out decorrelated audio tracks, disparate crowd sounds that reflected different types of fans and perspectives within the same venue. It created what Sonofans President Fred Vogler calls a fully immersive baseball experience for the players on the field.

Sonofans demonstrated its on-field crowd-sound system at the Arizona Diamondbacks' Chase Field.

Neither team picked up the system, which Vogler - whose system was widely used by both the NFL and MLB last year, including for the World Series - attributes to the system's cost at a time of drastically reduced stadium revenue. But he hopes it will find a niche as outdoor sports restart while venues remain only partially open to fans.

Meanwhile, he has seen the sound systems for augmented crowd sound begin to establish their own ad hoc standards. A widely accepted design comprises four line arrays aimed at courts and fields and backed by similarly aimed subs, along with wider dispersion angles that can use some reflected sound to better represent how athletes on the field hear the fans.

We've learned a lot in the last 10 months, he says. If we have to do another season of this - God forbid - we'll learn a lot more.

The European Approach In the UK, augmented crowd sound has stayed almost exclusively on-air. Rob Oldfield, principal, Salsa Sound, whose vCROWD system was deployed by the EPL's Manchester City FC (as well as for CBS broadcasts of Big 10 games and MLS matches in the U.S.), believes that UK broadcasters frowned on the idea of having artificial crowd sound both on the field and in the broadcast because they may not have meshed well when the live crowd sound was picked up by the television field microphones. The result would have been especially stark with no fans in the stands for much of the season last year and thus far this year. That was the case when Salsa Sound did a proof of concept for a match at Fulham FC's Craven Cottage stadium last year.

Salsa Sound's vCROWD system is used by the EPL's Manchest

LINK:	https://www.sportsvideo.org/2021/04/08/tech-focus-augmented-crowd-soun...
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