A VERY interesting film, btw: Todd Solandz's "Palindromes" We mixed for 11 days in the little room then went for a day to sound one in NY to make a dolby digital printmaster from my stems. After much research and implementation the room was finished and i tweaked it using a rented spectrum analyzer, a radioshack spl meter and the blue-sky test tones.Ī few weeks ago, we had our first film mix that was definately going to go to theatres. There is a lot to the story, but i will keep to the point here. It is small and we had to do a tremendous amount of bass absorbtion treatment. I designed a TINY mix room for my friend's post shop last summer. Thanks to everybody for their valued input. That really hit home for me the importance of being able to monitor in 5.1 with accuracy. Also, I cut some musical effects in quad format for the final but had to do it on stage on headphones, so I didn't really know if it was going to work until the next day when the music mixer let me play it back. I AM trying to see how music translates to stage, though it will benefit temp music as much as the actual score mix stems. I enjoyed that room very much (spacious!) and the mixers are awesome. We just finished last week so I will call Steve B over there and ask how they cal their surrounds.
#FUZZMEASURE ACOUSTISOFT TV#
If your mixing for TV it's typically 79-82spl.Did you contact your Music Mixer and see how/if he calibrated his system? If your still in doubt contact your Re-Recording Mixer at the Stage and have him get you in touch with the Chief Engineer of the facility. If you’re mixing for Features it's 85 c weighted slow.
Weren't you over on the "Radford Lot" mixing a Feature recently? Are you trying to see how the music translates to the Stage? Keeping in mind the final location (Theatrical, TV, DVD etc) will determine your calibration. Thanks, I'm doing my best to get my head around the Dolby spec (in general) and Pascal from Blue Sky was very helpful in sorting out some questions. There are a lot of folks on this board who know more than I, so, as always, take the info with a grain of salt and double-check it. 85 is also used for 5.1 (discrete surround) mixes, theatrical or otherwise.Īt least, that's what I think it is. LCRS mixes for TV and DVD use 85 dB for the surrounds. In that case, when the channels sum up acoustically, 82+82=85, but only for theatrical mixes.
NOTE: As of July 17th, 2008 this sticky had OVER 61,0000 viewsīefore the reset of the views counter!!! Add those views to the number you now see.Īs of December 2020 this post has had over 294,800 views !!!!ĪFAIK, you use 82 db SPL for a mono surround track (i.e. MOST PEOPLE SHOULD START BETWEEN 77 and 82 SPL NOT 85!!! Keep these links to hand to your fellow Mixers. Here is an interesting articles on "The X Curve"Īnother very interesting article from Meyer Sound on "Calibrating Cinema Sound Systems"īetween these links you should be ready to go.Īdding this to the original post.It is a link for finding your room modes. This is New 3-16-13 HERE IS A NEW "ROOM CALIBRATION CHEAT SHEET LINK" from Danijel MilosevicĪnd this on Dolby Room requirements link:Īnd the latest Link for Music Mixing in 5.1: THIS IS A REVISED LINK Read up! Here comes Immersive Audio to you at home:
Here is a link to the just released ATSC 3.0 Audio Information.
#FUZZMEASURE ACOUSTISOFT HOW TO#
Read the whole manual but go to Chapter 5 and read the whole chapter especially section 5.3 to learn how to take a correct measurement.ĪTSC Recomended Practice Techniques For Establishing and Maintaining Audio Loudnesss for Digital Television Click on "The Dub Stage Dropbox" Link below Then follow these links:ĭolby Pink Noise. Having seen this question asked nearly weekly, I have decided to post a few reference sites that can be used to calibrate your room for post.įirst purchase a Radio Shack SPL meter # 33-4050(Analog).
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