Technology Category
- Sensors - Acoustic Sensors
- Sensors - Camera / Video Systems
Applicable Industries
- Cities & Municipalities
- Equipment & Machinery
Applicable Functions
- Facility Management
- Sales & Marketing
Use Cases
- Smart City Operations
- Time Sensitive Networking
Services
- System Integration
About The Customer
Austin City Limits (ACL) is a preeminent music festival that has been broadcasting a wide variety of live music to public television audiences across the U.S. for almost 40 years. The show is known for its diverse line-up, featuring over 150 bands across eight stages. The festival recently moved its production from its original location at the University of Texas to a new purpose-built facility—Austin City Limits Live at The Moody Theater. The move was aimed at providing a larger space for its audience. ACL is committed to delivering premium sound quality and integrated workflows, maintaining its legacy as one of the country’s top live music programs.
The Challenge
Austin City Limits (ACL), a renowned music festival broadcasting live music to public television audiences across the U.S., faced the challenge of delivering exceptional sound for over 150 bands across eight stages. The show, which has been running for almost 40 years, decided to move production from its original Studio 6A location at the University of Texas to a new purpose-built facility—Austin City Limits Live at The Moody Theater. The move necessitated the selection of audio and video systems that could provide integrated workflows, premium sound quality, and proven reliability. Veteran engineer David Hough, who has mixed sound for virtually all of the show’s taped concerts, was tasked with finding a solution that would maintain the show's legacy as one of the country’s top live music programs.
The Solution
A consortium of sound reinforcement companies chose Avid live systems for every stage due to their universal acceptance by live sound engineers. ACL implemented a complete end-to-end Avid workflow based around Avid’s industry-leading audio and video creative tools. The software and hardware integrated seamlessly, providing ACL with the unparalleled performance needed. The theater and the original studio were equipped with identical 32-fader System 5-BP consoles with EUCON Hybrid for Pro Tools control. Each console featured 72 inputs routed from the stage boxes or Pro Tools playback sources to the main DSP engine, which could handle a total of 160 full-featured signal paths. The team also upgraded its recording facilities with an all-Avid workflow, adding Pro Tools | HD (now Pro Tools Ultimate) to the mix. This marked the first time the team committed to using Pro Tools for recording the shows.
Operational Impact
Quantitative Benefit
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