- Hi, my name is Beaux Neylon.
I am an engineer
here at PBS Wisconsin,
and today, we are in A Audio,
where I've been operating the audio console
for our news production.
This is the place where all of the different audio signals
come in to the station
and we mix together to the proper levels
before it becoming our "program"
that then gets delivered to you
while you're watching your show.
So, these are some of the tools that we'll use
to even out and level and balance
all of our different audio coming in.
One of the programs that we put together
is a program called 30-Minute Music Hour.
And that's usually a live band in our studio,
where we have a multitude of microphones.
The console is a 64-channel console
with upwards of 128 different "legs" of audio
that we can have coming in.
So, for a typical 30-Minute Music Hour
we may have anywhere from 6 to 32 different microphones
coming in on the various sources from the studio.
And we can group like instruments together
and create submixes for drums and guitars
and background vocals or horn sections,
and control those in a more fine-tuned way.
My favorite part about audio and working in here
is the thrill of it all happening quickly
and you have a limited amount of chances to get it right,
or close to right,
because if we're sitting in an audio edit booth,
you can sit there and make fades
as long as you want until it's perfect.
And here, when we're running live
and we have different video sources
that are playing underneath an interview
or different music sources that are then coming in,
you generally only have one chance to get it right.
And we do rehearsals.
During our production days,
we'll do rehearsals here and there
so we're all as ready as we can be,
but, you know, it comes down to that thrill in that moment
of nailing it when you're doing it.