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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Overhead channel
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Oscar Neundorfer
Master Film Handler
Posts: 275
From: Senoia, GA
Registered: May 2000
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posted 10-15-2002 09:07 AM
Actually the times at the top of the posts are not REAL time (eastern standard time) they are central standard time, so it was really 8 am. But just so you will know, I am such an industrious person that I am here most days by 7 am, sometimes earlier. And yes, the new little "bub" thinks 5 am is a grand time to be up and playing, so if my alarm clock doesn't get me up, rest assured that he will.If anyone needs me at that early hour (7 am), just dial 1-800-457-6278 and then dial 304 when the night message answers. If I am here, I will answer. Back to the topic, OVERHEAD CHANNEL, the SMART CS-3X ex format processor has had the "future use" outputs (SP1 and SP2) available since its inception. It is simply what would be the surround channel in a regular matrix. Exciting new format???? Not even close!! But then again neither was EX. It was just another application of existing technology.
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 10-21-2002 11:34 AM
Actually in the Cantor Theatre here, supposedly they were very careful to calculate the conical dispersion from the ceiling to the floor, including the calculations for the floor slop so that in the end, all seats got on-axis sound from the ceiling. I can't imagine that every ceiling installation early on when ceiling "surround" was used was that careful about speaker placement and the radiation patterns of each. The comical thing was, after they did all that figuring for the Cantor, they realized after everything was in and wired that the ceiling was undulating -- i.e., the architect designed it to look like waves (if Brad ever gets a free moment to post the pics, you will be able to see how one of the ceiling "waves" dips down right in front of the right hand corner of the screen -- it's a change-over house; you have to bend down to see the cues; save us from the architects). The thing is, they calculated the speaker coverage patterns based on a FLAT ceiling. When the contractor installed the speaker high-hat enclosures, none of them pointed straight down. They had to rebuild the scaffolding and install offset frames inside the high-hats so that,although the high-hats were aimed in weird directions, the speakers pointed straight down. But this couldn't be done without removing the 70v xformers from the back of the speakers so they could be aimed correctly. I think they just gaffer taped the xformer to the side of the high-hat. As soon as that tape begins to dry out and pulls away, the xformer will no doubt drop on top of the speaker. I give it a 50/50 change that it will puncture the speaker cone. Plus, I saw the workers trying to re-aim the speakers -- it sure didn't look like they were doing it with any of the precision that the sound designer did with the original calculations. It was just workers shoving the speakers back into the high-hats with some attempt at aiming them straight down....hardly a precision operation. And how do you a B-chain alignment on this kind of surround? Where to you aim the RTA mics.....toward the ceiling? Do you get under a few of them and average out your readings? Frank
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Ray Derrick
Master Film Handler
Posts: 310
From: Sydney, Australia
Registered: Sep 2001
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posted 10-21-2002 05:47 PM
Well Larry, I guess all the service techs will have to go out and buy some portable scaffolding (and a bigger insurance policy) to service these things.An overhead channel certainly has merit from a sound presentation point of view, however it is not a very practical idea. As Steve G points out, trying to achieve any kind of standard from one cinema to the next will be difficult to say the least. ------------------
Ray Derrick
President/Chief Engineer
Panalogic Corporation Sydney, Australia
Phone: 61 (0)2 9894 6655 Fax: 61 (0)2 9894 6935
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