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Topic: An open letter to Tyler Perry
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Manny Knowles
"What are these things and WHY are they BLUE???"
Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002
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posted 07-16-2012 10:03 AM
We're just going to have to disagree. I know what I've seen and you know what you've seen. And it isn't that I don't believe you. I just know what I've experienced, and I trust my experiences more than you trust them. That's okay.
I've personally sat in theaters where moving over as little as one seat makes a difference that can be heard with the ears and certainly measured on an RTA. A recent example -- a difference of one seat between myself and my friend -- he said there was too much bass. I, on the other hand, had "none." We switched seats during the (end) credits and it was a very dramatic difference.
As for HF, it's easy to hear changes just by moving your head around, without even getting out of your chair.
If THX theaters were so perfect, they wouldn't have to insist on the use of microphone multiplexers, and placement of those mics would not be critical. According to Tom Holman, dub stages are frequently calibrated with 3 of the 4 mics at the main mixer's chair -- 3 mics in 1 chair -- with the fourth one a row or two back, where the director or producer typically sits. And this includes the original THX dub stages he designed at Lucasfilm.
I don't want to get too hung up on taking "one seat" too literally -- although as I have pointed out, i've heard a difference with my own two ears often enough -- and I also don't want to limit this to THX theaters because they are uncommon. I suspect that the majority of cinemas are not designed (architecturally) with good acoustics in mind. Instead they are designed, first and foremost, to accommodate a certain quantity of seats. I'm not saying that there is no attempt to improve acoustics, but I am saying that at some point it's "good enough" for what they're trying to do, and this opens the door for greater seat-to-seat variances.
If your experiences are different, that's fine. But they are not the "be all, end all" of this. I won't accept that, if it means throwing away everything that I know is true. It's easy for you to discount my experiences, since you know very little about them.
I'd sooner accept that our mileage varies because, as I originally stated, "sound is more slippery than most people would care to admit." Apparently, that includes you.
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Marc D Fishman
Film Handler
Posts: 26
From: Burbank CA. USA
Registered: Jun 2012
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posted 07-16-2012 03:54 PM
quote: Manny Knowles
If THX theaters were so perfect, they wouldn't have to insist on the use of microphone multiplexers, and placement of those mics would not be critical. According to Tom Holman, dub stages are frequently calibrated with 3 of the 4 mics at the main mixer's chair -- 3 mics in 1 chair -- with the fourth one a row or two back, where the director or producer typically sits. And this includes the original THX dub stages he designed at Lucasfilm.
I've never seen a room tuned with 3 mics in one cluster position... on our stages, in a 4 mic setup, there are 3 mics across a parallel of the mixing positions(one center of the console, the other two on the flanks...) and typically one at the credenza center seat..
Very similar to how I've seen large venues tuned..
I think maybe there was a misunderstanding of what Tomlinson was describing...
The methods for tuning rooms (and the need for x-curve eq, etc.) is being re-evaluated by several groups, including a working SMPTE one.
Low end measurements can vary so much just in feet of variance to the measuring devices (and one of the reasons that averaging is so important) that we've started experimenting with using band based noise in order to better match variances between speaker setups (i.e. mains vs. near fields...)
Interesting times, and our conventional wisdom is definitely being "re-examined.."
Add to this the new way in which ATMOS rooms will be measured and corrected, and I expect we will gain some new ideas and tools to better translate across venues.
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