Broadcast audio systems

Broadcast audio built for live air

DCMM designs, installs, and supports broadcast audio systems for television stations, radio broadcasters, streaming platforms, and podcast studios. The standard is the same for all of them: a signal path that holds up under a live show, and a backup that takes over before the audience notices.

Live audio fails in predictable ways. A loose connector lets a guest mic drift from hot on the open to a whisper by segment two. A compressor fights a signal it was never set to handle. A talent mic dies mid shot, on air, with nothing behind it. One channel carrying the whole show, start to finish, isn’t a system. It’s a gamble.

Two live paths, documented source to air

We build two live signal paths from the start, not one plus a spare mic in a drawer. Consoles get gain-staged and every input labeled before the first rehearsal, not after the first mistake. Dante and AES67 routing gets mapped and documented, source to destination, so the path exists on paper before it’s ever on air. No guessing which mult box feeds what.

We prove the backup path the same way: pull the primary cold, on purpose, and listen for the gap before an audience ever hears it. Ask one of your engineers six months from now which channel rides which path. They’ll answer without opening a laptop.

System design and equipment

• Consoles and mic pres matched to your format, not pulled off a generic rental sheet
• Studio and control room treatment tuned to the room, so mics pick up voices, not the HVAC
• Monitor mixes set so engineers hear exactly what’s headed to air

Live sound and signal integrity

• Engineers riding the board live during segments, not a preset mix left on autopilot
• Signal split through mult boxes so IFB, monitors, and the broadcast feed each get a clean copy
• A second path standing by, live, so one mic going quiet doesn’t take the segment off air

Networked and post-production audio

• Dante and AES67 routing mapped and labeled, source to destination
• Multitrack recording captured alongside the live mix, ready for post
• A remote path built in for mixing off site when a full crew can’t be on location

Training and ongoing support

• Your team trained hands-on at your own console, with your routing in front of them
• Scheduled maintenance that catches signal drift before it reaches air
• A current signal chain diagram, so troubleshooting starts at the fault instead of the beginning

The format varies from station to studio. The standard doesn’t: a documented signal path that holds under a live show, and someone who picks up if it doesn’t.