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AUDIO SPECIAL SETTING UP A MIXING SUITE
quickly and easily wherever the filmmaker might find themselves on location? “Absolutely,” confirms Andy. “With a small USB audio interface and a pair of small monitors, such as the Genelec 8010, you could set up shop virtually anywhere. These monitors are optimised to work at close listening distances and consequently the closer you are to them the less impact the room will have on the playback.” It’s now easier than ever to access audio equipment that not only provides professional results but can do so at a fraction of the cost it did a decade ago. However, you should still be looking to seek out the advice of professionals who design and supply audio systems to ensure you have a setup that has the ability to fulfil your client’s needs. Also take a look at resources such as the Genelec website to pick up information on monitor set up and stereo and surround standards, which will help you to get the most from your audio editing, whatever system you happen to be using.
analogue filters, DSP correction or just advice on monitor placement to mitigate room influence. “Utilising speaker stands can also make an enormous difference to the accuracy of the audio reproduction. Raising speakers up to ear level, for example, really clears up the response of the monitor by reducing reflections from the desktop and it can also open up a clear line of sight between the speakers and the listener, something that’s vital to accurate monitoring. I’m often visiting rooms where there are complaints of poor intelligibility of dialogue or lack of stereo image, and it turns out that the audio monitors are hidden directly behind a sea of screens.” If you’re working with audio at any volume you also need to consider the issue of soundproofing. Off the shelf acoustic panels work brilliantly for controlling reflections and flutter echos. However they have little or no ability to reject extraneous noise or stop the output of the speakers emanating to the outside world. In reality, physical alterations to the structure of the space may be necessary. This could involve seeking the advice of an acoustician, or a good builder who’s up for a challenge.
IF YOU’RE WORKING WITH AUDIO AT ANY VOLUME YOU ALSO NEED TO CONSIDER THE ISSUE OF SOUNDPROOFING
Adding mass, sealing gaps and isolating the space from adjoining rooms may all need to be considered to keep the neighbours happy. So much for a semi-permanent audio editing space, but is it also possible to create a portable audio editing suite that could be set up
ABOVE The modifications to the space included soundproofing.
MORE INFORMATION:
www.genelec.com www.sourcedistribution.co.uk
DEFINITION JANUARY 2018
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