Halo's new installation.
Halo, a major London TV and feature film post production studio, has finished a £300k upgrade of its main Studio 1 film dubbing stage, which it acquired at the end of 2011 after taking on the lease at 25 Noel Street in London’s Soho.
As one of only three cinema-scale audio mix rooms in central London, Halo converted the stage into a Dolby Atmos environment, based around 46 JBL loudspeakers. The speakers, along with the Crown DCi-N network amplifiers and BSS Soundweb DSP, were supplied by Sound Technology, who distribute these and other Harman brands in the UK and Ireland.
JBL’s 3732T loudspeaker is designed for use in both studio applications and commercial cinema screens. It uses technology found elsewhere in the JBL range, and so consequently the DNA of these designs is shared with a high percentage of speakers found in mainstream cinemas. Engineers can be confident that if a mix sounds right in halo Studio 1, then it should transfer well to cinema speakers in the real world.
Dolby advised on the system using various JBL 9300 Series Cinema Surrounds and JBL AC18 and AC28 overhead channels, along with JBL 4642A screen subs and 4645C surround subs. These same systems are found at cinema complexes.
Crown’s DCi Drivecore Network series amplifiers were also selected. Their high-performance DSP and converters, matched to their low distortion and high damping factor output stages, ensure tight, detailed and articulate reproduction of the mix material. They also feature BLU link, Harman’s low latency, high-channel capacity digital audio bus, which allows a high resolution, simple, cost-effective and resilient way to achieve a complete digital signal path when used in conjunction with the BSS BLU-806 DSP processor.
Halo decided on the BSS BLU-806, with its configurable I/O, for a number of reasons, enabling them to switch effortlessly from Atmos configuration to 5.1, 7.1, IMAX or DTS:X. The Soundweb device can receive audio via AES and DANTE and route and condition the signal before passing it through to the amps on BLU link.
A Focusrite RedNet D64R provides the MADI-DANTE bridge and interfaces between the Dolby RMU and BSS BLU-806.
Since the upgrade of Studio 1, several major blockbusters have been mixed through the JBL Cinema System, including Ghost Stories, Darkest Hour and Paddington 2.
You might also like...
In this new series John Watkinson looks at all aspects of microphones, including how they work and how they don’t work.
Gain control in digital audio is essentially a numerical model of the same process in the analog domain.
The advantages of digital audio for recording purposes are clear, but once in the digital domain, productions steps also need to be carried out. Recorders don’t care about the encoding method, which is instead optimized for production purposes.
It’s interesting to compare the quality that can be obtained using digital audio with legacy media such as the vinyl disk and magnetic tape.
Noise shaping performs an important role in digital audio because it allows hardware to be made at lower cost without sacrificing performance, and in some cases allowing a performance improvement.