There's a list of the broadcast personnel later, but to help clarify each person's role, here's a rundown.
Coordinating producer: In Connecticut during the game, he works with the studio producer in Kansas City for ins and outs, scheduling interviews and other broadcast elements.
Game producer: In the broadcast booth in Kansas City, he keeps the talent on the format to keep segments on time and meet the ins and outs. He provides the talent with info to announce the game and notes any needed promotions. He also acts as a spotter to track stats, watches who is warming up and gathers research notes. He also watches the clock to join the game in and out of breaks by monitoring the TV cue feed. He is the main point person of all communication during the broadcast.
Technical director: In Connecticut during the game, he is responsible to get it all on the air.
Game technician: In the Kansas City booth, he handles the primary mixing duties.
Studio technician: In Kansas City, he acts as the secondary audio engineer during the game. He moves between the booth and the field as needed.
Chris Singelton (in light green) and Peter Pascarelli (plaid) on the field with Mike Soucy (stripes) just before the start of the Home Run Derby.
The Home Run Derby and All-Star Game are run in almost the same manner, except for the Derby there is more show preparation. A live game has ongoing play-by-play, but the Derby (at least on the radio) can get drawn out since it's a pitch and swing with possibly several unswung pitches in between. For the Derby, Jon Sciambi remains in the booth, while Chris Singleton and Peter Pascarelli are positioned at either team's dugouts. This allows them to talk to the players on the field during the Derby. For the game, Jon Sciambi joins the booth setup.
During the Derby, special guests are also brought in to the booth, including George Brett, who now works in the back office for the Kansas City Royals.
Looking up at the ESPN broadcast booth from the field.
It's already obvious there are lots of audio feeds during the game. Some feeds are included in the on-air mix, while others are strictly for cueing. The announcers and host account for up to four feeds. There are six wireless mics as well as two wired positions in the dugout. (The dugout positions are wired to avoid RF interference, but the wireless is available as a backup or if greater mobility is needed.) Rosenberg places a pair of shotgun mics outside the broadcast booth to pick up stereo stadium ambience. A stereo feed from the field captures the "crack of the bat" when the ball is hit. (these mics are usually placed at the camera wells on either side of home plate.) The house PA provides a feed. A stereo crowd mix is supplied by the TV station covering the game. The producer's computer has an audio output for interviews and other audio cuts.
- continued on page 3