Ortana Links AudioShake, ScorePlay for Live and Archive Audio Cleanup

Ortana Media Group, the software systems integrator behind the Cubix workflow platform, has connected AudioShake's audio separation models to ScorePlay through two integrations. Both AudioShake's Copyright Compliance System and its Dialogue RT model are now available to ScorePlay users through Ortana.

Supporting system integrators is how ScorePlay extends past the edge of the product, says Josh Krakowsky, Head of Partnerships at ScorePlay. That is where the bespoke work sits, a customer's specific hardware, a specific requirement, the thing that will never reach our roadmap because one customer needs it. Ortana built a custom live ingest workflow with voice isolation running on the feed, for the game scenarios where distribution has to happen in real time rather than post live. In ScorePlay that has always been a VOD job, and Ortana has made it a live one.

In any given broadcast, stadium PA music, commentator dialogue, and crowd noise are all caught on the same microphone: a celebration with an unlicensed track underneath, a sideline interview with the stadium PA over the top, a commentator buried under the jeers of the crowd after a game-winning play. That makes finished content difficult to distribute, and it carries the risk of takedowns and copyright fines.

Ortana has joined those things up, addressing both problems before publication: one on assets already in the library, one on the live feed as it arrives.

Music removal across a sports organization's entire library

A social producer has a clip worth posting and an unlicensed track sitting under it. Today it goes to an editor and comes back tomorrow, past the window where it was worth the most, or it never goes out at all. With the integration, the producer selects the asset in ScorePlay and gets back a version without the commercial music, and with the commentary and the crowd still in the mix. The same workflow runs against anything in the library, so a match from five seasons ago becomes redistributable to a new platform, territory or audience.

AudioShake's Copyright Compliance System detects, identifies and removes copyrighted music from a finished mix, including audio where the music is buried under dialogue, crowd noise and effects. Dialogue, ambient sound and effects are preserved, and nothing is generated: what remains is recovered from the source recording. In this integration it connects to the ScorePlay pipeline via the AudioShake API, which gives full model access with no hardware requirements, at catalogue scale.

Ortana connects that to the library itself. When an operator selects an asset in ScorePlay, Cubix Connect and Ortana's Media Aware Workflow Engine call the AudioShake API, track the job through to completion, and writes the separated version back into the ScorePlay library alongside the original with its metadata intact. Neither platform had to build anything for the other, and the workflow is assembled through configuration rather than custom development.

There is a tendency in this industry to assume that if two technologies need to work together, somebody has to go and build yet another integration, says Simon Harper, Partnership Manager at Ortana Media Group. We think there is a better way. Cubix and our Media Aware Workflow Engine sit between ScorePlay and AudioShake and makes sure everything talks to everything else, so neither of them had to build anything for the other. Live and archive are the first use cases. Less reinventing the wheel, more making the wheels we already have turn together.

Voice isolation on the live feed at 11ms

Live is a different problem. A broadcaster needs a clean commentary track off an ingest while the match is still running, whether for a syndication partner, for captioning and ASR, or for a localized feed, and cleaning the audio in post is too late for that window. In ScorePlay, this has always been a VOD job, and with Ortana and AudioShake, it happens on the feed.

AudioShake's Dialogue RT model takes the live mixed feed (commentary, crowd noise, PA bleed, ambient sound) and returns two independent streams: an isolated dialogue stem and a separate background stem. It isolates the speech rather than suppressing what surrounds it, delivering end-to-end voice isolation at 11ms, and it reaches Cubix through the AudioShake SDK.

Cubix ingests the feed over SDI, SRT, RTMP, NDI or HLS and writes it to the customer's own cloud storage, passing the audio to the SDK on the way through and keeping the returned tracks co-timed with the original. Both are delivered into ScorePlay as a growing file over the platform's public API, so they appear as selectable audio in the player while the event is still running.

An operator works the live timeline, selects a channel, and cuts for social or for syndication without waiting for the file to close. Cubix archives both tracks against the high-resolution master, so either version can be delivered later.

Where it applies

Rights holders: Most of what a rights holder produces is made to go somewhere else, like a broadcaster, a syndication partner, a sponsor, a league content exchange, and a clip with unlicensed music embedded either waits for clearance or never reaches the partner paying for it.

Athlete and social distribution: ScorePlay already delivers players the media they appear in. With the music removed and the crowd noise left in place, a clip can go out the same night from the athlete's own account.

Archive owners: Footage an organisation has already paid for becomes redistributable to a new platform, territory or audience.

Live production teams: The isolated voice track supports captioning, ASR and localisation, as well as a clean commentary track for a syndication partner.

Every rights holder we talk to has more content than they can distribute, and much of the time audio is

LINK:	https://www.sportsvideo.org/2026/09/24/ortana-links-audioshake-scorepl...
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