Re: Monitor requirements in a surround studio

Discussion in '' started by Dale, Sep 3, 2003.

  1. Dale

    Dale Guest

    Yo, Bob

    Actually, Bobby Owsinski's material at was one of the
    most useful sources I had read - including the Q&A (you've probably read it by
    now). And (ditto) the surroundpro site has more good info.

    Bobby: I don't remember reading about *dual subs* - or I never read that far
    in any material to date. With the particularly non-directional nature of
    frequencies below 80Hz, would dual subs really be very useful in a 10 x 23
    studio if a single sub is truly centered in an "acoustically symmetric",
    treated mix room? How do they make calibration easier?

    I gather that my current pair of HR824s would benefit from the company of 3
    more 824s in a 5.1 scenario (yowzie, on behalf of my credit line, I hope the
    economy improves). Any thoughts on a sub for this setup?? I have NOT
    researched them yet.

    Oddio Guy

    >You're best off with 5 identical speakers and a matching sub (actually 2
    >subs are best). What you'll find is that you can generally get by with
    >much smaller speakers than with stereo since a higher SPL with lower
    >distortion is possible thanks to having more speakers and a sub (if you
    >use bass management). Also, the system is usually set up in the near to
    >mid-field, so this means that you usually don't have to worry about
    >enough level to fill the room either.
    >I really would suggest that you use both a proper bass manager and dual
    >subs. The bass manager will give you low frequency extension and the
    >dual subs will give you more headroom, make calibration easier, and keep
    >the LFs from leaning to one side because of placement (you hardly ever
    >get to put it in the center).
    >Of course, the whole key to the system is proper calibration (see our
    >website for some helpful articles - You
    >might want to check out some other resources other than Dolby and DTS
    >since they can be very dogmatic in their approach and you might have a
    >hard time decerning the valuable info from the party line if you're new
    >to the field.
    >Check out Surround Professional magazine ( for some
    >good info in all aspects of the genre. They also have a nice forum at
    >On the film scores that I've worked on (granted they are medium to large
    >budget Hollywood films), all of them were delivered in stems to the dub
    >stage. The stems usually consisted of a 5.0 music bed, separate bass or
    >LF instruments, 5.0 lead instrument, and 5.0 anything else of interest
    >or secondary music element. In general, the dub mixer always wanted
    >anything with very high or very low frequencies as a separate element.
    >All of the stems are mixed so that when the dub mixer brings all the
    >faders up to zero, it accurately represents your mix.
    >It's always a great idea to talk with the dubbing mixer before you begin
    >to mix just to make sure that you can deliver what they want.
    >If you're asked to mix in stems, it eliminates the need for super
    >precise system calibration and worry about how the project will
    >translate to a theater, since it's all on the dubbing mixer to put it
    >Now mixing for the home theater (which is 95% of our work) is a
    >different kettle of fish altogether.
    >Bobby Owsinski
    >Surround Associates

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