With conventional stereo recordings, we can choose mic placements that can reject some of the room sound, but in a surround recording that room sound is an integral part of the overall sound. In order to do this you must first 'listen to your room'. Waves' M360 Manager helps the process of calibrating a surround monitor setup.In essence, you will want to capture the normal sound as you have always done, but also to capture more ambience or room sounds to enable you to place the listener in a 3D soundfield. You will also find that the stereo version won't be compromised, and you may even be pleasantly surprised to find that it has more 'space' in it.
When recording material, whether it be for radio, film, TV or music, you will get a much better, more believable finished product if you consider how best to record it for surround. If you haven't done so already you might like to refer to the excellent series of articles called 'You Are Surrounded' published in Sound On Sound from August 2001 to April 2002, which is an excellent guide to all the theory and systems in use in surround production. Be aware that to get the best results working in surround you will need a TDM system, but there are ways to work in surround on LE systems (see separate box). In this month's Pro Tools workshop we are going to concentrate on recording and mixing audio in surround for music, broadcast and film.
Set protools 12 audio device how to#
We explain how to set up your Pro Tools system to do that work, and give some guidelines on recording and mixing in surround. More and more post-production work is ending up in surround-compatible formats such as DVD. B-Format signals from the Soundfield mic can now be decoded directly within Pro Tools thanks to Soundfield's plug-in.
0 kommentar(er)
