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Fig. 7 Fox Scoring Stage. Neve 88RS. Monitor Section.
Aside from the size of the recording space, and the abili- ty to seat over one hundred players, the Scoring Stage techni- cal capability encompasses the following:
• Numerous isolated recording spaces adjacent to the larger recording space.
• The ability to provide picture projection in any format to numerous locations.
• The ability to provide extensive cue/headphone moni- tor feeds (often more than 32) to the performers.
• The ability to monitor in the Control Room various and diverse formats. This
• includes multiple surround formats on several alter- nate speaker systems.
• Availability of baffling and platforms for various stage setups.
• Often, the availability of variable acoustical treatment in the main recording room. This would be attained by mechanical and/or electronic means. (Meyer Sound/Lexicon)
• The immediate flexibility of setup and configuration of recording systems.
• An experienced crew to accomplish all of the above, and more.
The Scoring Stage technical support systems have grown from the basic requirement for monophonic optical record-
ing to complicated and extensive multi-track surround pro- duction in many formats.
During the later analog years, it was not uncommon for a stage to be wired for sixty to seventy microphones and up to five multi-track (24 track) recorders. Currently, with the proliferation of digital workstations, the stages are wired for one hundred twenty to two hundred microphones and at least four ninety-six channel record rigs. This recording capability is in addition to master clock systems, networking of audio and control, system backups and diagnostics.
Large multi-track analog recording consoles are still the norm. In fact, all current stages in the US and UK utilize the Neve 88RS Scoring console with between one hundred twen- ty and one hundred ninety-two inputs. This console is cus- tom designed to afford great flexibility in monitoring and configuration. It includes forty-eight times two multi-track busses, thirty-six stem mix busses (patchable to many more), and up to twenty-four auxiliary sends. While this is the latest and probably last generation of analog desk, it does provide the extensive capabilities required by current scoring ses- sions. (See Figs. 6 and 7)
Many mix downs are accomplished in the digital domain and here we find both console and controllers a common ingredient. The use of higher sample rates in recording nor- mally defines the use of controllers (mix in the box) rather
Motion picture scoring stages 31