Theatre Design & Technology - Summer 1998 - 57
MDS.JE500
Typical MiniOisc playback unit: Sony, model MOSJE500.
cially related to consumer models of the MiniDisc. Firs~ some models either
don't have auto-cue functions, or require the user to activate it every time they
turn the power on to the machine. Advanced features, such as auto-cue might
only be programmable from the wireless remote, so it is important for the
user to store remotes in a safe place.
Another issue that may be of concern when purchasing consumer
model MiniDisc players is the ability to defeat consumer copy protection circlilt)', the so-called Serial Copy Management System (SCMS). Somewhere in
the user's production chain, they will \vant to make sure that they are able to
remove tllis protection, or they may find it impossible to make backups, or
even to dub directly from their primary storage medium.
Finally, users who want to backup their work will find the MiniDisc to be
somewhat problematic. Only the top of the line Sony mlit will actually make a
bit-for-bit clone of the original, which would include titling of cues, and preserve tlle non-destructive edits (Denon also makes a unit specifically dedicated to tI1is ftmction). To back up using any other MiniDisc UIlit requires
making a digital dub from one UIlit to anotller. Unfortunately, the dubbing
process includes two stages of ATRAC compression: first when transferring
the original material to MiniDisc, and second when recording the backup.
'evertheless, many designers use their original sources (e.g., CD, OAT, etc.)
for backup, or are not bothered by tlle eAtra compression.
OAT
There is an inherent problem with using Digital Audio Tape (OAT) for
theatre sound playback: the startup time after an operator hits the go
button is unacceptably long. However, some theatres do use OATs for
sound playback, particularly for dance productions. It is ubiquitous in
recording studios where engineers master to OAT for CD production and
arcllive and backup to OAT. It is, cost per megabyte, one of tl1e least expensive recording mediums, it is re-recordable (unlike COs), and OAT
records in fuU I6-bit, 44.1 kHz sampling rate digital (unlike MiniDiscs).
The OATs included in tllis report offer instant star! and synchronization
capabilities, e.g., tl1e ability to synchronize lighting directly to music, and
eliminate tl1e need for internal "cue calling." Because of tllese features,
users may want to consider investing in a OAT player, especially if it is
part of their backup strategy, or they are involved in dance, and want
. both fuU fidelity and tlle ability to rerecord cues.
On tlle down side, OATs don't have the ability to automatically cue to tl1e
neA1 cue, and you C
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1998
Contents
Theatre Design & Technology - Summer 1998 - 1
Theatre Design & Technology - Summer 1998 - 2
Theatre Design & Technology - Summer 1998 - 3
Theatre Design & Technology - Summer 1998 - Contents
Theatre Design & Technology - Summer 1998 - 5
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