Page 33 - 2013 Spring

Fig. 8 Fox Scoring Stage Machine Room (left side).
ization (Manley/Avalon/ Massenburg) and reverberation effects (Lexicon/ Bricasti). This requires digital-to-analog conversion into the device and a recon- version to digital for final printing of mix stems. Often, this conversion process is used to accomplish sample rate conver- sion to the final mix format, normally 96kHz/24bit.
The need to provide nearly instantaneously edited material for review mandates complex and exten- sive network capabilities on the stages and mix rooms. When a cue or por- tion of cue is recorded, it is immedi- ately saved and backed up on several (usually three) drive arrays. At least one of these arrays is available to the
than consoles with the heavy demand of DSP in the higher sample rates.
Digital mix consoles are config- urable, with up to one hundred eighty inputs available at 96kHz/24bit. Additionally, up to sixty-four mix busses can be configured along with twenty- four auxiliary sends. This capability, along with hybrid technology enabling workstation control from the mix desk, allows the mix engineer great latitude in assigning effects and mixdown stems.
Plug-in technology, especially at high sample rates, has taken the place of much of the analog mix gear previously used for signal processing. However, many engineers still utilize vintage and/or highest quality devices for equal-
editors on site to assemble and com- posite the pieces of the cue. This assembly is then sent back to the play- back rig for future use as review and /or overdub material. This network requirement for audio, video and con- trol now exist on all stages and via large rental systems in the scoring industry. Master clock systems, as well as clock, time code and control system distribution, is also a normal function in the technical infrastructure.
Many, if not all, Scoring Mixers uti- lize some personal equipment for record- ing and monitoring. The interface of this gear must be anticipated in the construc- tion and configuration of the stage and control room. (See Figs. 8 and 9)
Considerations include:
• Microphone powering and
mounting hardware.
• Microphone preamp wiring and
remote control.
• Remote A/D Converter clocking
and wiring (Digital and Analog).
• Portable monitor system config- uration. (Leveling and integra- tion with in-house multichannel
monitoring systems.)
• Capabilitytointegraterentaland
outside engineer workstation to
in-house wiring infrastructure.
• Stereofolddownandheadphone
integration.
• Portable clock wiring, triggering
and remote integration.
• Portable communication sys-
tems, such as two-way radios, cue radios, etc.
Future of scoring stages
The opening of this article stated the necessity for a “place to record the music” as the initial requirements for a Scoring Stage. Over the nearly ninety years since, there have been numerous stages and facilities built for film scor- ing. At the height of the “Studio System” and TV production years, there were a minimum of ten Scoring Stages on studio lots (depending on how one counts) and at least ten other stages at independent facilities ade- quately equipped and staffed for a scoring session. This group of facili- ties existed in Los Angeles alone. Coupled with New York, London, etc., there were over thirty facilities world-
32 Acoustics Today, April 2013