The new recording formats...
Now that I've got it, what am I going to do with it?
by Fred Ginsburg
Cynical old mixers that we are, we have to caution the new generation
about getting overly excited over the new recording media. We grew up using Nagra 4.2's,
pioneered the Nagra IV-STC's, and are trying to keep up with all of the new DAT's and
other digital toys.
Which is fine. Change is good. Change is inevitable. (And its good for
rentals.)
However, before producers start banging their electronic drums and
demanding the latest digital toys, they need to examine the practical aspects of location
sound recording.
For decades, the motion picture industry was satisfied with the analog
signal-to-noise ratio of the venerable Nagra 4.2, operating at the slow (compared to
music) tape speed of 7 1/2 inches per second. Audio might have been improved by rolling at
15 inches per second, but the studios determined that it was not necessary.
Because there are two ways of looking at the concept of
signal-to-noise. The engineers in their white labcoats and anechoic testing chambers
contrast residual traces of electronic hiss against saturated test tones recorded on the
tape. Makes for great conversation at a cocktail party.
Production Mixers, on the other hand, look realistically at the
difference between low level dialogue and high level traffic or air conditioner noise. We
do not even come close to worrying about the residual noise of four-strand versus
two-strand mic cable, nor whether our recording medium has 70 or 170 dB of range.
Our problem is separating the voices from the background. Having twice
as much signal-to-noise in our recorder only means that we can capture the hum of the
lights and the whoosh of the air conditioner with greater fidelity than sound cutters ever
heard before! But the signal-to-noise between usable dialogue and unwanted ambiance
remains the same.
Far better to put one's budget into reliable recorders, better mics,
larger variety of mics, improved acoustics in set design, quieter lighting, and highly
skilled (better paid) boom operators.
That will contribute more to the overall quality and usability of the
production tracks than an investment in fancier location recorders.
But DO take advantage of the better recording formats in POST, where
signal-to-noise will make a difference, since we are adding studio perfect elements such
as music and sound effects. | 
We are authorities in production sound recording
for video and filmmaking. We also have lots of accessories for videography; and
are dealers for Casablanca, AVIO, and Renommee
non-linear video editors; as well as turnkey AVID & AVID Liquid (aka
Pinnacle) editing solutions.
If you would like a copy of our
2005/2006 "cowboy cover" catalog (free, of course), please phone or
e-mail us. We are working on a new 2007 catalog, coming later this year.
