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Author Topic: Sondor "Soundhouse" Ray Derrick Master Film Handler Posts: 310 From: Sydney, Australia Registered: Sep 2001 posted 10-07-2003 12:42 AM                     Peter, so I gather this unit is purely for studio use and that you're saying it comes complete with a Dolby pre-amp card. Are the pre-amp and delay somehow built into the chassis or supplied in a separate chassis or rack mount box? If you wanted to use it in a cinema, you would need to be able to access the inputs to the NR cards in the cinema processor. Not too many processors allow for that without modification to the backplane, (with the exception of Panastereo of course). Pete Naples, no softly's on digital delay itself. The point I was making (and I suspect Michael was alluding to) is that each time you convert to digital and back again you lose something. I am sure you would agree that in an ideal audio world, you convert to digital once and stay there, rather than keep converting back and forth.  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 10-07-2003 01:51 AM                     Peter, did you mean 220 perfs? 220 frames would be 13.75 feet. A quarter of that sounds about right, allowing for loops etc.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 10-07-2003 03:06 AM                        quote: Presumably the output from the analog reader has to be amplified up to line level to get a decent dynamic range through the digital delay system Why is that? Can`t the signal be quantized at a high resolution at a lower than line level? Please explain further!  |  IP: Logged Pete Naples Phenomenal Film Handler Posts: 1565 From: Dunfermline, Scotland Registered: Feb 2001 posted 10-07-2003 05:02 AM                     Yeah that's a good point Ray, with every A-D and D-A conversion the circle gets squared a little more. Michael, I don't think I've ever seen quality A-D convertors that work at SVA cell level, so it would seem logical that line is the way to go. I'd hazard a guess and say that the line level signal might well have a better s/n ratio, there could also be slit loss eq applied at that stage. I think the Raytheon laser units on modern Ernemman do this as I've never had to apply any slit loss to them.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 10-07-2003 05:24 AM                        Perhaps they looked at the analog capability as only a "backup" rather than a primary source for either of the two digital tracks and only to be played in dropout emergency. Then, if you had an analog-only print, you could use the output from the standard basement soundhead. Not many projectors can be run without the soundhead drive anyway, so it is going to be there in most setups. I have two situations where this unit would be a very elegant way to go -- it would give me a reader for both digitals (sorry Sony), and for older analog prints, I would still use the basement soundhead reverse scan reader. There I could then swap the visible red exciter for Kelmar's infrared LEDs, which they still have in stock. I am presuming that this unit has the same or better tracking abilities "genuine" Dolby and DTS penthouses, I would then have the best of all worlds, even for reverse scan analog of older silver tracks prints since my soundhead could be optimized for then using infrared. I am assuming this thing would be cost-effective and save us some $$ savings over purchasing separate equipment for the individual digital formats....says the guy living in the not-for-profit booth. Frank  |  IP: Logged Ray Derrick Master Film Handler Posts: 310 From: Sydney, Australia Registered: Sep 2001 posted 10-07-2003 06:12 AM                     Michael said "Can`t the signal be quantized at a high resolution at a lower than line level? Please explain further!" Yes of course, however A to D converters have their limitations in terms of noise, linearity etc. If you sample audio at too low a reference level, the A to D converter's inherent limitations can become significant and degrade the audio signal.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 10-07-2003 09:28 AM                     At one time USL distributed a reverse scan reader that digitized the analogue track and removed noise in the digital domain but I don't think anything ever happened with it  |  IP: Logged System Notices Forum Watchdog / Soup Nazi Posts: 215 Registered: Apr 2004 posted 03-13-2011 07:59 PM                 It has been 2714 days since the last post.  |  IP: Logged Fabian Schreyer Film Handler Posts: 63 From: Aachen, Germany Registered: Feb 2009 posted 03-13-2011 07:59 PM                     Has anyone got this reader till today? Or does anyone know, how much they are asking for it?  |  IP: Logged Paul Gordon Jedi Master Film Handler Posts: 580 From: Ottawa, Ontario, Canada Registered: Aug 2005 posted 03-22-2011 08:40 AM                        7,000 euro for the combo head that can do SRD/DTS/SR... kinda pricey but cool.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 03-22-2011 03:02 PM                     I didn't know such a product existed; I figured such a thing might violate some existing patents. In one of the 70mm related discussions involving the dead Cinema Digital Sound format I talked about how it might be really cool to have a single all-purpose film sound reader that could optically read any digital audio format off a film print. The custom reader might be a way to resurrect CDS and play the audio off any 35mm or 70mm CDS prints if any such prints still exist. Film readers using current technology might have better luck tackling a CDS audio track than the readers made in 1990. The Sonor Soundhouse digitally reads SR optical off the film print, but I don't know if it's possible at all to customize it to where it could accurately see CDS data on a 35mm print. Too bad they left out SDDS capability.  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 03-23-2011 12:59 AM                       Bobby, you're dreaming here. BACP and USL were going to do DTS, analog and SR.D in one package that eventually became the DSTR-20 but it didn't make sense because very few customers would buy both Dolby and DTS for a new cinema. CDS was way hard to do as their own reader could not reliably read their track. SDDS is a whole other thing as they are outside the imaging area of all the other soundtracks.  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 03-23-2011 07:16 AM                        I thought that sdds was just an updated cds. No? Louis  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 03-23-2011 09:59 AM                       Louis It had similarities as some of the same individuals designed it but it's a whole different unit, much more sophisticate and unlike CDS, it had some redundancy. One big difference was the bits are located on both sides of the film way outside the standard area reserved for soundtracks. It would be very difficult to adapt the SR.D penthouse reader to pick this off. Basement readers are out of the question as the sound is in dead sync with the picture frame, so negative delay would be required. Nice trick.  |  IP: Logged Sean Weitzel Jedi Master Film Handler Posts: 619 From: Vacaville, CA (1790 miles west of Rockwall) Registered: Dec 1999 posted 03-23-2011 11:10 AM                     Is CDS in sync with picture or is it offset?  |  IP: Logged

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