Detritus 35

> Great article on film mix prep by Eric Aadahl


> The new little Korg Monotron synth recently released looks so cute and the idea of an affordable (US$85!) MS 20 filter is great (even if it is modelled) but after seeing lots of photos of it on blogs like CDM I didn’t realise just how little it was until I saw this video:


> Bit late for April 1 but I wish it were true: new Moogerfooger Auto-deTune


> And related: Turd Polisher Pro


Sound Builders Episode 2 visit Diego Stocco (via Ihavesynth)

Check out episode one here


> Handy article on prepping and exporting audio from Final Cut Pro


> A great reminder of the value of pitch shifting as an analytical sound design tool


> Wahoo! BOY is #1 at the NZ box office, against some strong competition eg Alice in Wonderland & Tame Your Dragon…. I went to the cast & crew screening of BOY a week or so ago and sat front & centre because the particular theatre the screening was in has a huge slap echo from anywhere past half way back. But it turns out that was the least of the problems – I kept noticing that as soon as any sound panned away from the centre it became kind of muffled & verby… WTF? I also noticed if a sound panned in from the side it would suddenly leap to the centre… That is NOT how we mixed it! The next day I catch up with one of the mixers and mention how weird it sounded. Guess what? This particular theatre has blown high frequency drivers on its left and right speakers and they haven’t gotten around to replacing them yet!!! OMFG!!!!! WTF!!!!!!! How can they even rent out a theatre under these circumstance? It’s like going to pick up a rental car & they forget to mention that it goes ok as long as you don’t turn any corners.. Shame on you PARAMOUNT THEATRE, Courtenay Place, Wellington. We didn’t spend 4 months of our lives and hundreds of thousands of dollars to make the film sound as good as possible to then have it decimated by your lack of maintenance…
Is there a hall of shame for picture theatres?


> And news just in: Digidesign is no more – its now all called AVID and is explained in an open letter – hmmmm….. so far the best reponse i’ve read was on the DUC:

“This Letter from Avid isn’t a Victory. It’s Barely Positive!
The Name change doesn’t effect the product, it effects the marketing. Same with the website change.
Thanks for trying to Feed Us a Dream, but what I need is a Product that works! Consistently. On All OS’s. Not a New Website and Name Change.”

To assimilate this I am going to go watch The Corporation
“the filmmakers discover that if the corporation were indeed a person, the person would be considered a psychopath”

5 thoughts on “Detritus 35

  1. Enos

    Your post about the Paramount theatre with the blown drivers has just pissed me off. I had a similar bad experience on the premiere of a film I did last year in which the cinema sounded crap with a crackling speaker and the whole mix sounding compressed and muffled. (Prince Charles cinema in London…yuck)

    But to hear this happening at a much higher level with one of your films is just wrong!

    We had another premiere at a local theatre here in Manchester a month ago and after my first experience in London I was decided to go and test the film at the theatre a few days before. Well I did and arranged to see the projection room and talk to the projectionist. Anyways, I played the film to test for levels and noticed it was being played only in the left and right speakers. So I went up to the projectionist and asked whether they had 5.1. Now comes the good part, there was a paper on the wall which was a notice for any projectionist in that room which said that the room had been calibrated so that 5.8 on the volume dial on the dolby processor was the 85dbSPL level. 5.8 on the volume dial was the 0 point they had to set the sound to. So when I asked if they had 5.1 the projectionist looked confused, had a peak around the room and after a glance at that sheet of paper he said…” No, I think we have 5.8″ WHAT!!!! WTF!!!

    Anyways, at the end their Dolby Processor CP650 would not decode Dolby Digital from an AC3 due to some kind of lacking piece of gear and our film was being brought in on Bluray so it got played back in “high definition 2.0”. To make things worse I asked what that extra piece of gear would cost because he said they couldn’t afford it and he replied it costed £1000. What??? I might put up a charity to collect £1000 for that theatre.

    Anyways, end of rant.

  2. tim Post author

    I received a reply re the sound system at The Paramount

    “The right hand high frequency speaker is missing at the moment, and because our equipment is extremely elderly, it is not as easy as it should be to find a replacement that will work with the low frequency speaker as the center and left ones do. So we have ordered one, but it has to come from overseas and that takes time. In the short term, we have adjusted the other speakers and surrounds to minimize the effect of not having high-end on the right side of the screen.”

    So they are currently screening The World Cinema Showcase with missing speakers!?!

    Gee I wonder how The Hurt Locker will sound in there?

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