AXS TV adopts AJA FS4 frame synchronizer in broadcast truck

AXS TV adopts AJA FS4 frame synchronizer in broadcast truck

AJA’s pro kit have been used by AXS TV’s various production trucks, vans, and flight packs

AJA’s FS4 frame synchronizer was recently added to the AXS TV’s 40-foot concert truck. AJA has been a trusted technology partner to AXS TV and its predecessor, HDNET, since the inception of the network. For 15 years, AJA’s Ki Pro family of record/playback devices, as well as KONA video cards, FS frame synchronizers, and Mini-Converters have been used in heavy rotation across the AXS TV’s various production trucks, vans, and flight packs.


AXS TV is a television network dedicated to providing a diverse slate of music programming, comedy performances, current events and mixed martial arts promotions, delivering a mixture of produced and live broadcasts.


“We needed to improve the embedding/de-embedding capabilities in our biggest truck, after a competing embedder would introduce digital noise under certain conditions,” has said Jeff Carman, Senior Technical Producer, AXS TV. “Not only did FS4 flawlessly handle simple embed/de-embed, it added a host of new flexible options into our workflow.”


“AJA always has the right solution whenever we’re in need,” Carman continues. “Every one of our production systems has Ki Pros, FS frame synchs, and several Mini-Converters. When it comes to the reliability of their gear, AJA support is always a phone call away—armed with quick answers and replacements on the rare occasions that we have issues.”


AXS TV takes advantage of FS4’s support for MADI audio

Carman took advantage of FS4’s support for MADI audio, piping 64 tracks around the truck for recording. By feeding MADI audio into the FS4, it allows the system to pick off any of those tracks and assign them to any of the four SDI outputs, or feed audio and AES signals into any of the four SDI inputs.


“We were recently broadcasting from a concert and needed to send the live switch to multiple destinations with different audio,” Carman explains. “The live webcast via satellite solely took the stereo mix, and another radio station needed four channels of audio, while the green room and tour buses needed a stereo mix but with a little extra audio level. Additionally, the program record to Ki Pro was fed 8 channels (PGM, FOX Mix, ProTools Mix and Audience Mics). With FS4, we accomplished all of that from one box,” he concludes.


For more information about FS4:

TM Broadcast International

Broadcast and audiovisual digital magazine

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