|
Avid Pro Audio CommunityHow to Join & Post • Community Terms of Use • Help Us Help YouKnowledge Base Search • Community Search • Learn & Support |
#11
|
||||
|
||||
Re: Avid LoRo Downmixer
Thanks for the input everyone, much appreciated!
Why do the high-mids loose acoustic energy when in phantom center? Is it simply a speaker position issue? Yes, that was the first thing to check. Fairly standard settings actually, nothing to exotic and I collapsed them to LR for a dedicated stereo pass. Revibe and Space. Quote:
Quote:
Quote:
Quote:
Apart from multi-channel reverbs no surround treatment whatsoever. I'll go and investigate what Tor brought up and check what I can re studio acoustics. |
#12
|
|||
|
|||
Re: Avid LoRo Downmixer
Quote:
Quote:
sent from a stupid phone using Tapatalk |
#13
|
||||
|
||||
Re: Avid LoRo Downmixer
Quote:
Quote:
Yes, all mono. I would genuinely investigate this avenue first before posting the question. No M/S business here. OK. I'll check with the engineers here and try and get them to make some measurements. Thanks! |
#14
|
|||
|
|||
Re: Avid LoRo Downmixer
Side note: I was introduced to M/S production sound in Germany and I love it. They were mixing in LCRS on a lot of those films (mid-90s--there was still a format war going on in Europe for 5.1 or SDDS 7.1 so a lot of films just stuck with LCRS rather than paying for 4 film print masters), and the M/S dialog worked really well. I've mixed one movie (in 5.1) that recorded a stereo camera mic plus a mono boom and it took a little messing about with a delay to get the phase coherent, but it ended up giving me an M/S-like sound and downmixed just fine using Dolby Surround Tools. It's an extra hassle, especially since it's not commonplace, but the results are quite rewarding to my ear. Some day I'll convince a production mixer to use an MS boom mic.....
sent from a stupid phone using Tapatalk |
#15
|
||||
|
||||
Re: Avid LoRo Downmixer
Hi Tor
When I was at the BBC (early 90's) many Fischer boom shows (Eastenders, sitcoms etc) were MS booms. AKG 522 on interiors and often Neumann RSM 191 on poles for exteriors. I was trained to operate a boom in stereo - you learned to not pan so that the image moved and to do more lateral movement. Boom operating was not an art I excelled at though, and was better at operating AMS Audiofiles and Akai Samplers (the new whacky toys). As a dubbing mixer, we used to have Booms on the desk as two faders (M and S), - one mono and one stereo. Converting is simple.
__________________
cheers Mike Aiton BSc (hons) Audio Consultant, Dubbing Mixer/Sound Designer & Journalist BAFTA member IPS member ---------------------------------------------------------------------- www.mikerophonics.com |
#16
|
|||
|
|||
Re: Avid LoRo Downmixer
Yeah, man. That's what I'm talking about. I wasn't on set, but there were a few movies in Studio Babelsberg (Die Purzfraueninsel is the one I remember for sure) that used a similar approach. I didn't edit or mix the dialog, but I loved the way it sounded on the stage, gave the dialog a real feel without mucking around with panning and dialing in reverbs. (I was supervising sound editor but let die deutschen Editoren, Vera Burnus and Dominik Bollen, handle the dialog while I was supervising Foley and the effects editors and designing sounds. Then I was the only sound editor on stage, so I did work with the dialog as a linked pair of mono. I'm pretty sure the re-recording mixer brought the S up on two faders so he could play up one side of the room over the other.)
Quote:
sent from a stupid phone using Tapatalk |
#17
|
|||
|
|||
Re: Avid LoRo Downmixer
You should filter your LFE for DCP. Cinemas that don’t have a filter in their audio chain will send the info above 120 to the sub and cause distortion.
|
#18
|
|||
|
|||
Re: Avid LoRo Downmixer
My intent is to send audio above 120Hz to the sub. I'm not doing it irresponsibility (I don't get calls from Michael Bay), but I do use the effect of a sub playing full bandwidth with intention. It's not mixing 101, that's for sure, and should be done carefully, but I've been mixing 5.1 for 20 years now.
sent from a stupid phone using Tapatalk |
#19
|
|||
|
|||
Re: Avid LoRo Downmixer
But then either the filter in the cinema’s audio chain will cut your LFE track for you, it will play it unfiltered and distort, or it will play unfiltered and won’t distort. Audio information above 120 will also help localize the subwoofer for the audience. So considering that, what is the purpose of your intention to send full bandwidth material to the sub?
|
#20
|
|||
|
|||
Re: Avid LoRo Downmixer
Have you listened to full bandwidth sound through a subwoofer? I'm sure you have if you've seen any summer action movie (the first Thor movie did it a lot from what my ears told me), but I mean have you listened to it by itself? That's the effect I use sometimes. I'm not telling you or anyone they should do that and I'm certainly saying you should only do it if you really understand how it's likely to play in a variety of theaters. If they do low pass my Lfe channel it'll still work. If they don't, I'm confident it'll sound good. And if it sounds good, it is good.
sent from a stupid phone using Tapatalk |
|
|
Similar Threads | ||||
Thread | Thread Starter | Forum | Replies | Last Post |
5.0 to stereo downmixer | RecRoom | Post - Surround - Video | 7 | 12-14-2016 08:09 AM |
5.1 to LCR/LoRo Hardware | kaioflex | Post - Surround - Video | 2 | 09-03-2015 12:05 PM |
DownMixer | Jazzbass56 | Post - Surround - Video | 7 | 01-21-2014 11:52 PM |
Quick 5.1 to 2.0 (LoRo) Crash Mix Question... | sunman | Post - Surround - Video | 10 | 06-21-2006 12:56 AM |
LCR verses LoRo stereo question | CLee | Post - Surround - Video | 9 | 11-03-2004 03:07 PM |