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Author Topic: Refersher on A-Chain Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 11-15-2012 09:22 AM                     quote: Victor Liorentas Jarret brought in his scope and we verified that the left channel was still present but weak. Signal present but weak -- But *which* signal? -- Could that simply be crosstalk from the other track?  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 11-15-2012 12:45 PM                     Good question Manny baby but it is all for naught now: quote: Also replaced both analogue leds or rather Rick Long Jr of Cinematronix did! Anyway all our formats sound fantastic now! From that result it tells me that either Victor knocked the LED out of adjustment or it coincidentally had some segments fail after the swap. It is pretty easy to get "turned around" with reverse scan readers during alignment....that is why use of buzz track and CAT 97 is essential to make sure the lateral alignment is spot-on before going on to the next steps. In general, for a new reader install I do the following: "Eyeball" align the LED to the reader lens; Run Dolby tone and adjust focus for peak output, then adjust LED for peak output; Run Buzz track as quick check of lateral and set as required; Run Pink noise and set focus and azimuth; Run CAT 97 and Buzz track to verify crosstalk and lateral; Run CAT 566 Illumination uniformity and re-adjust LED for peak level and even illumination; And finally, run Dolby Tone to set the level. That all takes less time that it sounds like. I also keep my Buzz track and CAT 97 separate, I tried the combined loop and found it to be very annoying to work with.  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 11-15-2012 01:11 PM                     To make room for the Christie 2220 I had to disconnect the B.A.C.P wires and relocate the conduit running to the amp rack. It was all redone at great speed and we never did determine what went wrong after the xl head swap. I like to think it was a coincidental failure of the led  |  IP: Logged System Notices Forum Watchdog / Soup Nazi Posts: 215 Registered: Apr 2004 posted 06-28-2017 04:10 PM                 It has been 1686 days since the last post.  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 06-28-2017 04:10 PM                     Has anyone ever tried removing the Academy filter from a Dolby CP 55 or 65 to improve the mono sound?  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 06-28-2017 07:55 PM                     Don't know about removing but Cp55 & 65 do have a mono eq adjust that will brighten the sound.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 06-28-2017 09:44 PM                     The CAT242 allows removing the HPF via a jumper/link. There is a single-turn trimmer that will allow one to adjust the LFP.  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 06-29-2017 11:12 AM                     What is LFP?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 06-29-2017 11:58 AM                     LPF = Low Pass Filter  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 07-10-2017 02:33 PM                     I'm thinking of adding a diode on a spare control card which would activate the sub-woofers on mono,also thinking of removing the academy filter on a spare card for an experiment. The goal is to get more impact on a mono film like Jaws. I also have a 31 band eq on my center channel which I bypass when not needed. I would love any opinions.  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 07-10-2017 04:01 PM                       The last thing a mono track needs is more bass to go with the weak HF. But sometimes I think you pull our legs just for fun.  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 07-10-2017 10:47 PM                     I wish I was having fun but no,I'm trying to make the best use of new speaker cabinets that were donated to the theater. I finally convinced the owners to let me put up a light and sound absorbent baffle wall behind the screen which it desperately needed.Sound and picture really improved! The new speakers are basically becoming extra subs. They are ported with 2 15 inch woofers each,direct radiators. I decided to move the center speaker (Altec A4) to the right side next to the right screen channel. Then I positioned one of the new cabinets dead center and mounted the Altec horn on it. It is bi-amped with a new QSC amp. The Altec bass bin is now acting as a sub-woofer. When our tech comes to re-eq the auditorium,I wanted to try and improve our mono sound further if I can,while he's here. It's decent now but I keep remembering how much better mono sound on Jaws in 35mm sounded on our old Smart Mod 8 processor. It was the only good thing about the Mod 8. I hated the Mod 8 otherwise. The Dolby cp55 modified to cp65 status with real SR was a great step up. I bought it 8 years ago along with a cat 700 and DA20. Except mono sound! It struggles to sound good in mono as compared to that crappy Smart Mod 8?? It took the theater owners 5 years to pay me back for the Dolby stuff. This is a struggling single screen neighborhood theater and I'm a struggling projectionist,trying to keep 35mm alive, lucky to still be sort of working in my beloved field. Most of my time since digital took over,is spent doing everything but projection work,or having fun.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 07-11-2017 07:14 AM                     Some may poke fun at me for saying it, but, if you want to play with mono a bit, get yourself a set of Kintek boxes (preferably the separates like the KT-21, KT22 and KT-24 but a KT-700 can work. The least important device in there is the KT-22 (Stereo-Phony-Izer). But the KT-21 will allow one to effectively expand the dynamic range of a mono track. The KT-24 does have the ability to generate a surround track (it was the best of the various offerings) but it also has a sub-bass generator too. It looks at the octaves that are on the track and then generates a version for the subwoofer. This also avoids picking up the shutters in the optical recorder that merely adding a subwoofer channel would do. Look up the DBX 100, 110, 120 if you want a more detailed explanation as it was used in the home stereo market.  |  IP: Logged Victor Liorentas Jedi Master Film Handler Posts: 800 From: london ontario canada Registered: May 2009 posted 07-11-2017 09:24 AM                     Very interesting! Thanks Steve!  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 07-21-2017 10:33 AM                     I have (maybe had, since a lot of stuff got lost/damaged in the move to out here) one of the Ultra*Stereo boxes to make mono films into fake stereo...wonder how it would do for Victor's purpose? Anyone ever use one before? If I still have it Victor it's yours if you want it.  |  IP: Logged

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