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  1. #1
    Forum Regular Brainstorm's Avatar
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    Feb 2007
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    Smile Limiting the Armageddon’s!


    Like the titles says limiting the Armageddon’s with faster attack time than my previous and some what rather basic audio limiters where I had no control over threshold and release times in milliseconds, its been rewarding to revisiting the launch sequence from the 1997 summer hit Armageddon without the splitting headache that would soon follow afterwards.

    Before I started the launch NASA officials had to check the levels with auto pink noise cycling on the sound systems internal Kenwood KRF-X9050D THX select AVR, once the thumbs where up we where clear for launch.

    But the launch was aborted in the firing control room where I noticed it was to loud on the softer scenes, left and right was reduced via the additional Dolby processor that was re-plugged back into the sound system a few nights back. So via reducing the levels by -3db it seemed to work out extremely fine.

    So with the launch back in countdown mode we where clear, the pounding thunderous sound of the main engines on the shuttles started up with good limiting as each shot cuts back and throw from shuttle to shuttle the LFE.1 cuts in smoothly without overwhelming the performance of the three-screen, this is how it should be.



    By playing back the same sequence again I added the sub bass extension and readjusted the levels on the mixer or a smooth launch. During midway into the launch I noticed the three audio limiters where doing an outstanding performance at keep the levels reasonable but needed a little more output, and thou I was looking good on the SPL db metre just under 80dbA! My gaol here is to aim for an optimum peak of 85dbA which is where it should peak.

    I made some small changes during the launch by setting the threshold for left and right audio limiters at -20.0db with centre set at -18.0db.

    “Houston this is a kick ass ride.”

    Split-surrounds in centre back and height surround added good atmosphere with shuttles passing down the sidewall surround arrays or straight over the centre back. Height surrounds added additional background sound effects that fill the room without overwhelming.

    Now although my surround array isn’t protected at the moment I take extreme care as these where only installed last year after a painstaking few months. Next I switch off the all the front loudspeakers including sub bass. I then monitor the surrounds via the use of the SPL db metre to see what potential the split-surround mix as got.

    Some films have some very complex surround or split-surrounds sequences that could benefit by being turned up carefully with the use of audio limiters. Now I have a basic stereo audio limiter that is built into the Hi-Fi stereo VCR in fact most VCR decks have a basic audio limiter built in. At the moment I’m fresh out of plug sockets as nearly all but 19 are in use!

    So if I can find away around it sometime tonight I’ll get some audio limiting functioning on the surrounds output then patch the leads back to the Pioneer VSP-200 which is the Dolby centre back height surround decoder as well as sidewall surrounds and low pass sub bass output that is patched into the audio mixer.

    The clock is ticking in the background and Cal is mad as hell.

  2. #2
    Forum Regular Blue Meanie's Avatar
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    Dec 2003
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    There goes another 30 seconds of my life wasted that I'll never get back.

    Jeff
    P.S. I don't even think that Armageddon can be pluralized. And even if it could, there'd be no apostrophe.
    PIONEER: SX-780, CT-F700, HPM-100(x4), DV-C302D, PD-F1007, PL-514; DENON: AVR-983; SONY: D-15, DVP-985V, DVP-CX860(x2); TOSHIBA: XR-9459; TECHNICS: SL-1800MK2, SL-1700MK2, SL-1400MK2; NAD: PE2200; PARADIGM REFERENCE: STUDIO 100 V.2, SERVO-15, X-30; CERWIN-VEGA: DX-9; REALISTIC: MACH 2; RCA: 42" LCD HDTV

  3. #3
    Forum Regular Brainstorm's Avatar
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    No, you can not have your 30 seconds back at any cost!

    I guess your missing the idea of the concept no matter, no matter sounds great around.

    The clock is ticking in the background and Cal is mad as hell.

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