I spent the rest of that day and a considerable period
afterwards exploring the new worlds that really are emerging for
surround sound. I found that we audio folk entering into this world
must be very patient and cautious. To some in the world of video,
music is an afterthought, almost just a necessary evil. In the words
of a sales rep, "audio is the ugly stepchild of video production."
You are between two worlds: Audio and Video. You need
to talk audio. But, many of the people that will be selling you
the products will be video people who really do not know much about
the audio portion of the programs, and probably NOTHING about music.
This is because they usually just dump the music in and don't think
about it again. You cannot just call your local music store to ask
them what software and equipment you need because they don't deal
in video products.
When you ask the 16 year-old behind the counter, "can
this program encode audio to AC-3 or DTS?" he will ask you what
that is and you will reply "I want to make a DVD-Audio". He will
then proceed to say "Oh DVD -- you need to talk to somebody in the
video department." Even the knowledgable sales rep will have a difficult
time telling you what you need. I will now give you just enough
acronyms to make you dangerous: AC-3, DTS. These are ways of encoding
surround audio into a file size small enough to accompany video
on a standard DVD-video player.
I bounced around a lot between video companies and
audio companies. I was trying to make sense of all of these programs,
file formats, acronyms, costs, and so on. I found that in the world
of video you compress (compress like MP3, not like a bass amp or
vocalist) the audio to make room for the video. This is done in
a number of ways, the most common being AC-3, commonly known as
Dolby Digital. Now before you scream "HOW DARE THEY COMPRESS MY
GLOROUS 5.1 MIX!!!" - hold on. Video people compress their video
files as well.
You have probably seen DVDs with a wide screen version,
TV Version, director's cut, and bloopers. Imagine being a filmmaker
and shooting your movie on beautiful rich color 70mm film. Then
you have to get your images into a TV edit. You have to cut the
sides off and then make the resolution a fraction of what it was.
So the video guys are in the same boat. But since it is DVD-video,
of course the video image takes priority. You can't blame them.
Our passion is audio, their passion is video.
Here is the good news. DVD-Audio is just about us
audio guys. The point is that this disc is for showing off our glorious
5.1 mix. For the audiophile nerds like me, here are the basic specs.
* You get 6 channels in 5.1:
- Front Right
- Front Left
- Rear Right
- Rear Left
- Center
- Subwoofer, or as everybody calls it LFE (low frequency effect)
* 24 bit depth
* 48 Khz
You can add video and still images to the menu (if
your user has a TV hooked up to it). The focus is on the audio.
This audio is totally uncompressed.
So what does that mean to the musicians and the mixers?
I found out. I clicked "New Project," then clicked a button that
until now had only been for goofing off: 5.1 Surround Mix. I started
working on all of the interesting ways I could open a mix up. I
put instruments in all kinds of strange places, mostly because I
could. I found out that this was just as much about personal taste
as creating the music itself. When stereo came out, people panned
guitars in the left channel because they could -- not necessarily
because it sounded good (yes that is my opinion). Was I to do the
same and put something in the rear right channel because I could?
What belongs there? In stereo, the rules are somewhat set. In 5.1
it is different.
At the risk of sounding cliché, we are in uncharted
waters. Experimentation led to other tricks and ideas. The type
of music you are doing really has an impact on the way you will
approach your surround mix. For instance, in a standard rock band
you are trying to "rock". You are usually trying to capture a band's
live show. Very rarely do you hear a live rock band where the ride
cymbal is coming from the rear right corner of the room. However
in "newer" styles such as dance and trip-hop for example, there
is not as much preconceived notion of how it should sound. So being
more experimental is refreshing.
I'm purposefully not sharing any mixing "tips" here.
Not because I think what I have is some valuable trade secret, but
because I would rather not pollute anybody's creative vision with
what I think sounds good. We are working with a new format here
let's get creative! After all this is our art let's take the opportunity
to make it new instead of doing what we've heard other mixers do
because "that is how it is done." If you are having trouble or want
to share insights give me a call. I would love to hear about what
you've created. With that said, if you are recording/mixing "older"
more established genres like bluegrass or rock, I think you'll have
some really interesting challenges in front of you with respect
to listeners established expectations. If you are working with more
ambient genres like Enigma or film underscore, there may be a lot
more room for creativity.
I'm sure the record industry is very excited about
this next fact. One of the things I did was to go to a record store
and purchase a DVD-Audio disc. I wanted to try to rip the files
onto my computer to take a closer look at the way it was mixed.
But when I tried to do this, I got an error that read "THIS IS A
COMMERCIAL DVD-AUDIO DISC. YOU CANNOT COPY," and I was kicked out
of the session. Now I am sure there is a 14 year-old out there somewhere
that has figured out how to rip it. But that 14 year-old would have
a difficult time sharing it over the internet because currently
there is no MP3-like compressed format for surround sound. MP3 only
has two channels, left and right. DVD-Audio has 6 channels. Music
thievery has a new challenge to overcome.
The next thing I did was to author my very first DVD-Audio.
The process can be as simple or as cumbersome as you like it. You
will probably want to get your graphics programs up to date. It
all depends upon how many graphics you want while the music plays.
If you are going to be strictly musical and not include graphics,
then the authoring process is pretty much identical to burning a
CD with two enhancements.
The first is: you can have multiple "groups" or "chapters"
on one DVD. So for instance, group 1 may be 5 tracks of 5.1 mixes.
Group 2 may be 5 tracks of stereo mixes of the same songs. The second
enhancement is that you can have hidden tracks. You can burn a track
in a special place so that the end user has to enter a special code
to hear it. I am not exactly sure what was the initial intent of
this feature, but I am sure we will see some very interesting things
come of it.
For a week I spent as much time as I could re-mixing
old projects into surround. Then came my next dilemma. Yes. I mentioned
before that the Acura TL and RL come standard with DVD-Audio players;
and many other cars will soon. But right now they don't. I wanted
to hear the DVD-Audio because it is uncompressed, but I don't have
an Acura so what to do? I didn't want to just sit in my studio and
listen to my mixes. But I don't need a new Acura yet. Do I have
to go buy an expensive DVD-Audio System? I shopped around and found
the cost of a new DVD-Audio system depends on what equipment you
already own. If you are starting with nothing you are looking at
around $300.00-$500.00 to get into a complete 6 speaker system.
If you have the speakers and dedicated amps you can get a DVD-Audio
player that will also play DVD-Video, SACD, MP3's, CD's and has
a few other bells and whistles for $129.00.
OK, I took care of myself and now I can hear my own
mixes. On to the next obstacle. How can I show my mixes to people
who are still on standard DVD? What if I want to show a director
or an editor some of my work?
I had mentioned AC-3. My next task was to make my
DVD-Audio disc a DVD-Audio/Video hybrid. But before I did that,
I needed to really know how to make a DVD-Video disc. There are
people that do nothing but author DVDs all day for a living. The
particular mastering program I was using had authoring capabilities
right in it. And it was made for audio folks, so it made it easy
for a greenie like me. Even so, when you jump into the DVD-Video
world you are now in that parallel universe I was speaking of earlier.
These programs are not necessarily any harder than our audio programs;
they are just not what we are used to seeing. They are more like
web development programs. After a frustrating learning curve I finally
authored my first AC-3 DVD-Video demo for the world to hear.
I have heard some people argue that consumers do not
really care about 5.1 and most people cannot hear the difference
anyway. Being a music producer, I would agree so far as to say that
if the song does not work, surround sound does not matter. But I
do not think it is necessarily about hearing the quality as much
as it is about marketing the latest and greatest and "keeping up
with the Joneses."
At this point, I believe that DVD-Audio has the potential
of becoming the main audio listening format for consumers, so long
as the record industry, the electronics industry, and the auto industry
keep the course. While I have heard different rumors that different
car companies are going to have DVD-Audio come standard in their
cars/SUVs, I have yet to see them roll out anything. The only one
for sure is the Acura.
I think the exciting part for us in the music industry
is that, at last, we are going to be able to create a wonderful
5.1 surround mix that has the potential to be heard by our audience.
The possibilities are expanding.
Provided by the MusicDish
Network. Copyright © Tag
It 2005 - Republished with Permission
