John Leonard wrote:
Makes me want to weep.
Me too.
On the other hand, to some extent I can relate with the opinions.
Having worked for more than 30 years in broadcasting, I learned
something about the studio process.
I do understand, that mono and stereo are the easiest track formats
in multichannel mixing for single spot effects and sounds that belong
together with something in the picture, that is only in one place or
direction. Say - a dog barking. See a dog, hear a dog. Play a mono
sound, pan it into direction and that's it. If you need to give it a reverb,
it's easy to add.
It is not very clever to use four channel B-Format for similar tiny area
spot effects.
However, I think that ambiences and sounds of various surroundings
would be much easier to mix from a multichannel recording. That is
where B-Format comes to it's rights. It's sooo easy to rotate the ambience
right way around, zoom and balance it so that it fits in with the picture.
When the picture cuts to a different prespective, it is ridiculously easy to
change the auditory perspective with B-Format to match the picture.
If you do the same operations with discrete 5.1 recordings, or even
four-channel recordings, you need to do much more operations to get
it done. The 5.1-rotation modules don't work too well. Been there, done
that.
I have understood that the audio people are doing exactly this in sports.
They use multichannel microphone setups or Soundfield for the overall
ambience, crowds, audience, and single mono mics for effect sounds
from particular places in the field.
Eero
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