Quote Robert Eidschun:
I get the impression that the festivals expect Dolby E audio, and expect that it will be good enough to use. From the festivals' standpoints then, the two-track audio is only for back-up.
And probably for use when doing the initial viewings to decide what gets screened at the festival (Which makes it kind of important).
I also get the impression that even the best prepared Pro-Logic compatible audio isn't all that good, and considering what Dan said about the highly limited frequency response (400 Hz - 7 kHz)
What I said was that the _surround_ chain had a limited response, the main LCR rig behind the screen tends to be ok (within the limits of the SVA audio track this was designed to work with anyway).
After all, live classical music and opera is usually presented without any sound reinforcement, and so everything is coming from the stage and nowhere else.
Err, why do you think the big halls get so much spent on acoustics? A LOT of the contemporary sound of classical music (This has changed somewhat over the years and depends on what exactly you mean by 'classical') is down to the reverberation of the space (which most certainly does not come from the stage), a cinema by contrast is deliberately not a reverberant space and I would expect centre channel mono in that environment to sound very, very, strange for classical.
I would seriously talk to a good dubbing mixer, like mastering it is a highly specialist skill.
Audiophiles use phono leads because they are unbalanced people!