[Richard Crowley]

The product photos on the website https://www.blackmagic-design.com/products/atem/models/ show that the pinout diagram is screened on the back of the box. Of course, the photo on the website is too small/fuzzy to actually see what it says. And the verbal documentation in the manuals is practically nonexistent.

Lack of documentation seems to be a chronic issue discussed in this forum. Apparently for all BMD products, not just these. It is really a shame. The products seem quite innovative and groundbreaking, but they are way too complex to provide documentation no more technically detailed than what you would get with a toaster-oven.

[Richard Crowley]

Yes, I think you could do what you are attempting, but the GPI/Tally interface does NOT appear to be a viable solution.

1) The GPI/Tally interface is NOT shown as part of the Videohub family of of products. It might be compatible, but I would be very surprised. And if it WERE compatible….

2) The GPI/Tally interface does NOT seem to have the kind of INputs (or the necessary quantity) that you need for your application. Of course, the documentation for the GPI/Tally interface is essentially nonexistent, so we are only going on educated assumptions.

Again, it seems very likely that what you are asking could be done with a computer monitoring the triggers (contact closures from the CCUs) and using the API software available from BMD to send the desired switching commands to the matrix switch.

[Richard Crowley]

Define “use…with”?

The GPI/Tally gadget “outputs” simple contact closures. My understanding is that they are hard-mapped to the bus input-select buttons. It doesn’t seem possible that you could use that interface to control any of the Videohub routers.

OTOH, both the production switcher products and the router products appear to be controllable via LAN. So you could use a computer to monitor the status of the production switcher and send commands of your choice to the routers also via LAN.

If the actual LAN protocol were documented, you could do it with something as small as microcontroller board (like Arduino, etc.). But it appears that BMD only documents these interfaces at the API level, so it will require a Mac or PC or Linux box and some programming skills.

[Richard Crowley]

If you have a horrible ambient, an excellent way of reducing it significantly is to kick up the direct-to-ambient ratio. That is done by getting the microphone AS CLOSE to the mouth as possible. That is why you are seeing more and more people on-camera using headset microphones with nearly invisible wands and mic heads smaller than a match head. Placed just next to the cheek a few millimeters away from the corner of the mouth.

And, of course talent who isn’t whispering or mumbling. And proper mixing to have only the microphone of the active talker open at any given moment. Perhaps auto-mixing, or iso recording each mic on a separate sound track and mixing in post-production. In the absence of any production details, we don’t know if any of these options apply to your situation?

[Richard Crowley]

Simply sounds like some very low frequency noise mixed in with the enhanced bass line.

[Richard Crowley]

That is a pretty low-end product.
It uses a built-in microphone on the transmitter. That has several implications, most of which are negative for professional use IMHO.
It uses Bluetooth which has limited range, limited bandwidth (i.e. limited quality) and noticeably high latency.
It connects only to consumer cameras with appropriately-outfitted “hot shoe” interfaces. It does not connect to any of the pro or prosumer camera models that I can tell.

Frankly, any one of those issues would dissuade me from serious use.

[Richard Crowley]

I agree with Ty that someone with mic-fright is not an actor. A large part of getting professional sound results is to use good voice talent.

Now it may be that your Rode VideoMic is responsible for whatever you think is deficient with your recording, but since you didn’t explain what you dislike about the current recordings and didn’t post a sample anywhere for us to hear, we can’t really help you with evaluation or recommendations for improvement.

It also may be that using a lav mic would improve the deficiency, but it doesn’t seem very likely. A more conventional microphone on a stand is much more typically used for voice work. I would bet that you could get rather good results from your Rode VideoMic if used properly.

Then you make yet another quantum jump to a wireless mic. Now it may be that a wireless mic is just what you need for your production. But you started out asking about recording speech in a studio setting, and that hardly requires anything wireless.

And, as Ty mentioned, Azden is pretty much at the bottom of the heap and not well regarded even in amateur circles. The general consensus is that any wireless mic (mic + transmitter + receive) that cost less than around US$550-600 is an unreliable, fiddly, cheap, disposable, plastic toy that will bite you in the backside just when you need it most.

Suggest posting some audio (or even video) examples and specific complaints about what you don’t like and what your goal is. Mentioning how you are editing could also be helpful.

[Richard Crowley]

If it is live to tape that means you have a dedicated (and experienced) crew person to do the sound mixing in real time as you shoot. And that also means that you don’t need separate microphone tracking (for doing the mix during post production).

Are you also switching video live to tape? Or are you recording the cameras separately and editing? Without a clearer description of your production flow, it is difficult to answer your questions.

If you can afford $ound Device$, it makes no sense to look at anything else. Virtually everything else is downhill from there. And it is priced accordingly. You didn’t mention your budget, either. Or why buying makes more sense than renting or hiring an experienced sound person who brings their own gear and knows how to use it properly.

[Richard Crowley]

I would just go all the way with lav (or headset) mics for all three “speaking parts”.

Not clear why you would need booms for the SFX of the cooking? I would think a strategically placed “plant mic” would be sufficient for each station.

If you budget allows an SD 788 then by all means go for it. It has separate inputs, preamps, record level controls and tracks for eight inputs, so a mixer is not required. There is an accessory control panel with slide pots for real-time mixing. But it would seem easier to just “track” each mic to its own channel and then mix the sound in post. Unless you are doing this live? Or “live to tape”?

[Richard Crowley]

Is the device recognized by the operating system?
Can you see evidence of the ATEM in Device Manager?
The OS must recognize and connect to any device before an application can talk to it.

When you say “not recognized in mediaexpress & Ultrascope”, does that mean it IS recognized by other software?