Professional Sound - April 2018 - Page 28

“It doesn’t matter whether you’re a master con- trol operator listening in a master control or QC room, a video editor or producer in a control room, or an audio guy mixing in a post sound mix theatre or control room – we want every- thing to sound the same for everybody.” getting the [required] number of channels without increasing the budget.” Again, they stress, the decision to favour Xilicia was partly informed by the company’s attention to detail: “Their entire focus is on the support of high-sample rate material and they’re highly regarded in terms of the speci- ficity of their approach,” Nunan emphasizes. While Nunan and Baggley won’t neces- sarily need to work at the crest of the sample rates the products can accommodate any- time soon, “There’s an automatic presump- tion that, when you’ve got a piece of gear that’s capable of working to a very high level of precision at a higher sampling rate, it’s going to do great work at more conventional sample rates,” Nunan says. “And really, we wanted something that was going to be as close to a straight wire as possible. We didn’t want anything in the chain that was going to needlessly colour things.” Baggley adds that, in his home, he uses an older Xilica product as a crossover for his speaker system. “Xilica was recommended, and I have to say it works really well as my three-way crossover.” While the Atmos configuration was pre-existing in Post 207, it was previously unprocessed beyond the room correction that was being done “inside the box” using the capabilities of the Neumann gear. That, 28 • PROFESSIONAL SOUND Nunan says, was ow- ing to the fact that they had yet to find a product that offered the kind of wide processing that met their requirements. “Post 207 started life as a 5.1 room filled with K&H loudspeakers for the Vancouver Olympics, so we swapped out the Neumanns about the same time we started de- ploying Neumanns ACR 7 elsewhere. Similarly, EQUIPTMENT ROOM ACR 7, which was commissioned in Summer 2017 and we built last year, from day one had those loudspeakers in it, so ACR 7 was brand new, an empty box, and the Xilica went in slightly before Christmas.” In terms of loudspeaker placement, Baggley says: “In ACR 7, we’re configured as 5.1. Suffice to say that Michael goes to painstaking ends to ensure the speaker placement is optimal and, basically, the loud- speakers are all equidistant from the optimal listening position and properly balanced to zero reference the room.” Prior to the installation of the Xilica, however: “We had not timed the room,” Bagg- ley continues, “so that was a big part of what the Xilica brought to us. Suffice to say that the speakers are in a logical configuration and not being impeded by anything within the room. We had a decent sounding room right from the get go. I think that Michael would like to see it be absolutely zero timed out, have zero reference as the optimal listening point. Most of the stuff that we’re doing in that room, honestly, would be posted by [CTV Post Sound Supervisor] David Midgely in 207 so we want our references to be the same.” Baggley provides a specific anecdote as to why that’s key: “We were having a little bit of trouble with [the audio] for one of the characters on The Beaverton after the first post session. This was following my tracking the show and giving it to Dave as a 5.1 com- posite mix. They use my 5.1 surround mix as a reference, sweeten with some applause to cover edit points, and basically smooth over the show. If there is a point that they need to rebuild, they have all of the elements in Pro Tools. Anyway, David had a bit of a problem with the way the character’s voice was sitting in the mix, so he asked me to take out 1.5 and 2.8 [kHz] and I did and it worked flaw- lessly for him. We had the same reference point. I don’t tend to be heavy handed with my equalization – I’m kind of a minimal- ist – but that one simple thing made the difference because he felt, from a mastering standpoint, it was sticking out and we both had a really decent point of reference, so that’s where it really helps.” In Post 207, the loudspeakers are arranged in a 7.1 configuration using 12 KH120s, with three duplicate KH310s at the left, centre, and right. “The 310s are our primaries, but we can listen to the mix on a matching set of 120s, which is exactly how everyone else in the facility is going to hear it. The 7.1 is at ear height and then there’s a 5.1 configuration of KH120s as the height ele- ment in ѡɽMͥ䰁ӊèԸāх)ѽܸİݡ́́Ѽ)ѵ́Ѽ͍Ѽѡȁɵ̸%)ѵ̰ݗeɔ᥹ЀܸĸаЁЁ)ݽɬѼ䁥́ԸİͼѡЁѽɥ)Ʌѥٕ́䁅t)QݼāՉ́ɔ)̃L͕ȁѡܸā)ȁѡԸāɅѥ̸) H܁́եݥѠѡɕ- ̰)ݼ- ̰<Ոѡɕ)4̸Qɽə H܁́)ɔѥȵȁMՑȁYф䰁Ʌ)ݥѠMՑˊé% ɔݼ)MՑȁʹāɅ́ȁѽх)5$$=́́5͌Ĺ$<)=ѡȁȁՑ́Q ɽéMѕ(ͥɽͽȰ٥AɼQ́!9)ѥٔ٥5$$