Re: Is TV/ video/ film sound getting worse?
Posted: Mon Nov 25, 2019 12:47 pm
Thanks for the explanation Hugh :thumbup:
Welcome to SOUND ON SOUND magazine's recording and production forums, described by some as "an oasis of rationality".
Nihilism FTW. Bringing in guests as often as possible so you can pinch a lunch voucher seems to be the standard method to make what you described more bearable.The Red Bladder wrote:TV is a 9-to-5. Monday read-through, Tuesday and Wednesday walk-through, Thursday rehearsals, Friday taping. Rinse-repeat - Monday read-through . . . Retire at 65 and then wait for death.
Tomás Mulcahy wrote:My favourite example of great live TV dialogue/ sound is University Challenge. Teams are on super-cardioid desk mics, desk is acoustically treated and the 3:1 rule is (almost) always adhered to. Presenter has a lav where the bas tilt is deployed to add to the gravitas. Defo fig 8s on audience as well. I think that format is about 50 years old?
Jake Knott wrote:Here's a bit more info if anyone's interested.
Dan LB wrote:Thanks for the info Jake, very interesting.
What equipment is used to provide FOH sound for the audience?
Jake Knott wrote:We've got 3 Nexo PS10 speakers slung on trussing above the front corners and centre. They're nicely directional, and don't have an extended bottom end response, which is just what you need for TV speech. No subs; there's only a small amount of music in each show and it's never at concert volumes. They're at least 25 years old and currently showing no signs of breaking down. The audience mics then sit in between them, 2 front and 2 rear, and their group fader is worked very heavily to control PA colouration.
Dan LB wrote:Do you do the FOH mix for from the broadcast desk or is there a dedicated FOH console?
Jake Knott wrote:Dan LB wrote:Do you do the FOH mix for from the broadcast desk or is there a dedicated FOH console?
It's all fed from a post-fader aux on the broadcast desk. The actual mix to FOH is more or less the broadcast mix minus the audience mics, with odd tweaks depending on the studio geography; for example the VO is slightly lower because he's virtually in the audience. I set it up all by ear with feedback from the floor crew, then it's saved and recalled each time we come back.
ef37a wrote:Contrast that with the recent production of War of the Worlds. I know it was SUPPOSED to be soul destroying but the lack of light became such a strain I gave up in the end.
ef37a wrote:Contrast that with the recent production of War of the Worlds. I know it was SUPPOSED to be soul destroying but the lack of light became such a strain I gave up in the end. I will confess I found the plot line hard to follow. Maybe I should read the book?