Super Bowl LVI audio mixing was performed with Solid State Logic consoles

The musical segments during the pre-game and halftime shows at this year’s Super Bowl, which aired on NBC and Telemundo, were mixed on a Solid State Logic System T networked broadcast production console installed at the NFL’s West Coast headquarters, rather than the usual dedicated remote truck — a first in the history of the championship game. Tom Holmes, A1 for the broadcast music segments at Super Bowl LVI, was responsible for mixing every music performance which took place during the event.

Holmes mixed the music from one of the five audio control rooms. Each of them is equipped with two SSL System T surfaces, an S500 and an S300, and supports Dolby Atmos, 5.1 and other formats. The building is connected over fiber to SoFi Stadium, where this year’s edition of the Super Bowl took place.

“The last time I was on an SSL has to be over 10 years ago,” says Holmes, a New York-based A1 whose resumé includes years behind the broadcast production audio console for the annual Grammy Awards telecast. “It was my first time with the System T,” he says, and his second time working the Super Bowl.

Having has an opportunity to work with the System T for a week, he reports, “I found the console sounded really good. It certainly is laid out well and has nice features built into it, like bus compression and effects. The compression was very nice and smooth. Same with the EQ. The parametrics can be as tight or as wide as you want. And it does seem very precise. A high-pass filter rolled off at 150 Hz does exactly what it advertises. There’s no guessing that the GUI doesn’t match the sonics that are coming out of it. And the response time was fast.”

In all, Holmes had access to 256 bi-directional lines between his control room and ATK Audiotek, the event’s live sound production provider, in the stadium. “There were also 192 lines back and forth between a router front end they allowed us access to for transmission and video tape records,” he says. “We had a total of 16 RF microphones and 12 crowd mics. Plus, I had a 5.1 stem that we got from NBC that we got to use for our halftime show that was coming from the stadium.”

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