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October 2010

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Page 42 of 59

that is I have an input gain stage on it, two bands of filters, com- pressor and EQ all within this one unit that uses a reasonable amount of DSP. It’s ideal when working on the ICON because anytime I select a channel and it snaps over to the focus sec- tion, the compressor, EQ, filter and the trim on my channel strip gets mapped directly to the center focus section. Origi- nally, I used separate units for EQs, compressors, and so fourth. But, when I snapped from one channel to another into the center focus section, it would leave ether the old dy- namics or EQ plug-in if the new focused channel didn’t have both types of plug-ins. That meant I could adjust the wrong plug-in slowing me down. Now, when I use the URS Pro Channel Strip, I elimi- nate this possibility for error. ” Dickson sums up by saying, “When HD first came out, a lot of people where doing 5.1 mixes. But, a lot of people got burned because the mixes weren’t making it through the broadcast chain to the con- sumer correctly at home. Now, clients are giving us HD picture, but are often only asking for a stereo mix.The amount of 5.1 mixing I have done has kind of kicked back a little for the sim- plicity of stereo.The ability to make revisions and the learning curve in the broadcast stream means that stereo is still pre- ferred over 5.1 in many situa- tions. In fact, when I am doing a 5.1 mix, all of the final tweaks and the approval process are still done listening to the stereo mix. Sometimes it gets put to a Quick Time movie for approval on a laptop. So few people hear it in 5.1 and fewer still listen on a 5.1 system that is set up prop- erly. So stereo is still king for commercials. Everyone has jumped on the HD picture bandwagon, but not as much for 5.1 surround sound. I believe that as the industry works out the kinks, 5.1 mixes for commer- cials will rebound.” October 2010 • Post 41

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