Subject: Re: Upcoming Empreintes Digitales DVDs (and .1)
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Sun Apr 30 2006 - 08:29:58 EDT
Thanks.
For the studio situation, I see the real 'cost' being in getting the
room set up correctly, before equipment and software considerations.
(See Dominique Bassal's comments on this.)
Computers are cheap, but have a three year life; sound cards are not
expensive and have a longer shelf life; amps are not expensive and
have very long life, speakers need to be quite expensive, but can be
acquired in a progressive fashion (eg adding 2 or 4 per year up to
the desired limit... 8 ... 16).
Software is almost an operating expense often with a half life of 18
months or so.
The "point one [.1]" is a whole other issue in my experience. Let me
propose as an example, a 12.1 studio. This could be two 6.1 amps and
12 full range speakers. Or, in this case, it would be a 12.2 studio
if the sub is taken from each of the amps (so, yes, I do have to subs
in here).
Is the 'point one' (simply) part of the monitoring system
compensating for the limited low frequency response of the "full
range" speakers, or will is be a 'true' LFE channel that is part of
the audio session.
An interesting experience this past year in concert was how to get
the .1 channel when there was live sound projection.
Starting from a stereo source, the more faders that were up, the
'more' bass that seemed to be present in the system, so a low
frequency compression system was written into the projection software
such that the the dynamic range of the sub was compressed (partly in
response to the psychoacoustic problems related to loudness curves
... as a channel was faded, the bass disappeared faster than the
upper frequencies).
This can be tried in different contexts such that a reduction of the
level in the regular monitors by 12 dB would result in a 6 dB
reduction to the sub(s). More work is required to be done, in situ,
to get a better idea of how to solve this problem.
Best
Kevin
At 9:47 AM +0100 06 04 30, mopani@tiscali.co.uk wrote:
> >-- Original Message --
>>Date: Sat, 29 Apr 2006 23:14:23 -0400
>>From: Kevin Austin <kevin.austin@videotron.ca>
>>Subject: Re: Upcoming Empreintes Digitales DVDs
>>To: cec-conference@concordia.ca
>>Cc: cec-conference@concordia.ca, Louis Dufort <siuol@sympatico.ca>
>>Reply-To: cec-conference@concordia.ca
>>
>>
>>
>>I am interested in knowing how many people here have 5.1 setups in
>>their home, and/or studio.
>>
>>
>>Best
>>
>>Kevin
>>
>>
>
>Hello Kevin
>
>We have a flexible set-up in Aberdeen (Scotland) and are still developing.
>I have a cheap and cheerful 5.1 at home with computer speakers, good for
>speech and pitched drones but not much more. My problem at ther moment, having
>spent three days in the studio trying out some new ideas, is first of all
>deciding on how to approach a new piece. How many channels, which software
>(ideally something which writes surround panning to file) and so on. Apart
>from the old argument about cinema formats being imposed on us composers,
>I don't have a problem with 5.1. I'm not sure that many people who have 5.1
>at home would be in the market for surround electroacoustic music.
>
>Secondly there's 'switchability'. I want a big dial that lets me change from
>4 to 8 to various point one formats.
>
>best
>james
>
>___________________________________________________________
>
>Tiscali Broadband from 14.99 with free setup!
>http://www.tiscali.co.uk/products/broadband/
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