Non-Sync question...

[Ryan Gallagher]

We used to do all our walkin/intro-mic stuff via U1 on the 650 regardless of if we are showing prints or not.

But I recently added a direct RCA path from our mixer to Non-Sync 1 on our AP20 so we don't have to boot up the 650 on DCP nights.

But I noticed that via the U1/650->Discrete 8ch AP20 was decoding dolby SR in many music tracks. However with the AP20 direct Non-Sync method we only get 2ch audio. Is there something to flip in the AP20 to tell it to decode on non-sync inputs?

Additionally, we often close the curtain in front of the L,R,C... it was replaced recently with a heavy 2 layer main. It doesn't work so well for walkin audio anymore when closed. I was wondering how reasonable it would be to customize a non-sync input on the AP20 to remap L&R to Ls+Lrs & Rs+Rrs specifically for walkin music with the curtain closed? A bit unconventional, but perhaps better than the muffled music from behind the curtain.

The irony is we have a full fledged live PA outside the curtain, but on film-only nights that system and desk are not powered up, because no audio department is crewed.

[Carsten Kurz]

You can set the AP20 to decode analog NonSync in the decoder setup. I can look it up later, but I am also sure there is some basic speaker mapping possible for NonSync (e.g. to Surrounds). We usually have the Neo6 decoder running for NonSync/walkin music, however, our usual NonSync walkin source is the HDMI audio from a PC running iTunes. I think Neo6 is only possible for digital 2ch NonSync sources, but the analog Non-Sync input offers a basic matrix decoder as well. Note that the analog NonSync format allows you to use the Mic for simultaneous announcements as well.


Bildschirmfoto 2024-10-27 um 14.57.18.png

[Steve Guttag]

Note, "SR" is a noise reduction. You are meaning Pro-Logic (2:4 active matrix decoder). In the case of the CP650, I believe it was format "75". No noise reduction is applied.

[Marin Zorica]

I do not know how good anouncer sound when it goes thrue decoder, but most of time for situation like that I advice to use mic input and route it to surrounds. First, in case curtain is closed and when anouncer with microphone is in front of the screen, it can pick up feed back in case sound goes to front channels.

[Ryan Gallagher]

I do not know how good announcer sound when it goes thrue decoder, but most of time for situation like that I advice to use mic input and route it to surrounds. First, in case curtain is closed and when announcer with microphone is in front of the screen, it can pick up feed back in case sound goes to front channels.

We don't have any feedback issues using an SM58 when the curtain is open, probably due to mic pickup pattern and sensitivity, and the fact our L,C,R are fairly well above them (large screen). But we do feed it to a little mackie 8ch mixer before it goes to 650 U1 or the Non-Sync inputs. We use the mixer so that our laptop for walkin music can also be feeding that same input.

But I can see the benefit to switching to or adding surrounds when the curtain is closed for music, for announcer I would probably leave it "coming from the stage" as long as the curtain is not making them unintelligible. I think we are going to "Y" that mic onto two mixer channels, and have one channel/EQ/level set for when the curtain is closed.

When it is more than just the film programmer doing a brief intro, such as creative guests, and QAs etc... we crew all departments and drive music and mics through the live PA separately from the cinema sound. So no curtain issue there.

[Steve Guttag]

I always use surround but just Side Surrounds, never rear. Rear surrounds, depending on the room length can give the presenter a bad echo. For my Atmos rooms, I provide the option of using the top surrounds or just the first row of surrounds as sort of a "cluster" like a PA but, more often than not, it is the side or side and top.