ProAudio Review - March 2008 - (Page 48)

STUDIO SPOTLIGHT BISMAEUX Continued From Page 14 the overflow so that the A room can keep operating, even if Ray needs an hour to work on a vocal.” SOLIDLY INDEPENDENT For 2008, Bismeaux intends to operate “business as usual,” with no major upgrades planned, save for a software boost to Nuendo 4.0 and some TLC for the API. Their client roster remains, in addition to Benson’s projects, solidly independent, with the occasional major label project filtering through. In a town rich with high-level musicians working on the fringe of commercial rock and country, Bismeaux stays steadily booked while many studios struggle. “We’re just concerned with making greatsounding records,” says Seifert. “So far, we’ve been under the radar; in the year to come, we expect things to only get better.” Heather Johnson is a San Francisco-based journalist and author whose books include “If These Halls Could Talk: A Historical Tour Through San Francisco Recording Studios.” POST | First Look DOLBY Continued From Page 44 The decidedly modern Studio B features a Yamaha O2R mixer and an Event Precision 5.1 montoring system displaying a warning if it’s missing.) The number of user options offered by the DMP software suite can only be described as extensive. For example, while encoding Dolby TrueHD audio tracks for an HD DVD or Bluray Disc, the user can implement an apodization filter. (If, like me, you are unaware of the former, an apodization filter helps minimize ringing effects that can occur in some A-to-D and D-to-A filters; it is only applicable to source files sampled at 88.2 kHz or higher.) In addition to supporting data rates up to 6 Mbps - 3 Mbps for HD DVD and 1.6 Mbps for Blu-ray Disc - Dolby Digital Plus delivers up to 7.1 channels. The process is also described as maintaining high quality at more efficient broadcast bit rates – typically, 320 kbps for 5.1channel audio. (It is the mandatory audio format for HD DVD and as an optional audio format for the Blu-ray Disc.) And where higher bit rates can be accommodated, Dolby TrueHD is described is bit-for-bit identical to a studio master, for 100 percent lossless coding at data rates up to 18 Mbps with more than eight, fullrange 24/96 channels. A REMARKABLE A/V SPECIALIST’S SOLUTION All in all, Dolby Media Producer is a remarkable development. In one, easy-toimplement-and-use package, DMP offers the type of power and convenience we expect from this well-experienced manufacturer. It has a reasonably steep learning curve, if only because the operations are specialist and possibly being encountered for the first time. The incontext help menus are outstanding and a lot of the dialog boxes feature assistance in completing what is often a set-once/use-again operation. Using either the three-in-one DMP or standalone SE Encoder, a facility can set up a DVD Production Suite that can turn out audio media files quickly and efficiently. What more could you ask? Acknowledgements: My sincere thanks to Steve Venezia, Manager, DVD/DTV Broadcast Support, and Gary Epstein DVD/DTV Broadcast Support Engineer, for their invaluable assistance during this hands-on assessment at Dolby Laboratories’ Burbank office. Mel Lambert, principal of Media&Marketing, a Los Angeles-based consulting service for the professional audio industry, can be reached at mel.lambert@MEDIAandMARKETING.com. 48 | ProAudio Review | March 2008 Subscribe to the Digital Edition of Pro Audio Review http://www.proaudioreview.com/subscribe www.proaudioreview.com http://www.thatcorp.com http://www.proaudioreview.com http://www.proaudioreview.com/subscribe

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ProAudio Review - March 2008 Contents Publisher's Page Studio News and New Products Sennheiser MKH 8040 Microphone Digidesign Mbox 2 Micro Studio Spotlight Upsampler X/Audio Live News and New Products Touring Gear From the Road Broadcast News and New Products ION Audio Tape2PC Cassette Archiving System Brauner VMA Large-Diaphragm Microphone Audio Ltd. RMS 2040 Series Post News and New Products First Look NAB Showcase Buyers Guide Single Slice

ProAudio Review - March 2008

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