Issue link: https://digital.copcomm.com/i/17668
POP Sound’s Stephen Dickson: “Typically, I am really doing a 5.0 mix rather than a 5.1 for commercial mixing.” decode the stereo files into the sur- rounds by running them to the effect decoding bus and I unwrap them using the TC Electronic 6000 plug-in. That way, I can decide how much or how little I want in the surround channels by unwrapping it rather than panning it. “This avoids any kind of phase is- sues, too. For example, if I was just to move the panners to the surrounds, then as soon as there is an equal vol- ume level, it creates phase issues for the downmix. But by unwrapping it, I don’t have to worry about that. It is great for stereo tracks of any kind, es- pecially music. And because I am de- coding them, I am insured that the downmix back to stereo is going to be 100 percent perfect. It was already stereo so it downmixes back to stereo perfectly.” When mixing in surround for commercials, Dickson is always aware of the differences between a con- sumer’s home theater system com- pared to the full-range Adam S3A speakers he mixes on. Bass manage- ment and how it relates to the differ- ence between full-range speakers and satellite speakers is paramount to making a surround sound mix work in the home environment. “To ensure that my mixes translate properly to a home theater with satellite speakers, I make sure anything going to the sub- woofer is only an extension of the frequency range rather than some- thing vital to the content,” he explains. “For example, if there is a low-end explosion, I will not just put it in the LFE channel. I know that some people don’t have their home theater sys- tems set up properly. And different satellite speakers will emphasize things differently depending on the crossover frequency for the system. I make sure that anything that is vital to the storyline is not solely dependent on the subwoofer. Also, making sure I monitor the downmix through a tele- vision helps ensure that. I’ll know if I need to adjust something when lis- tening to the downmix. “We have the BSS London BLU-80 that acts as a bass management sys- tem,” continues Dickson. “The bass management is happening whether I am working in 5.1 or stereo. Specifi- cally, all low frequencies from all the channels get sent to the subwoofer.As a result, I do not have to mix specifi- cally for consumer satellite speakers. The downmix is always checked on regular televisions so between the main studio speakers and the televi- sion, I am able to check if something is going to be consumer friendly.” Bass management and knowing the difference between the LFE and a sub- woofer is often an area of confusion and variation in the home, and even in some mixing studios. Because of this, Dickson knows the best approach to ensure the commercial’s surround sound mix will translate during the broadcast.“As far as I am concerned, the 5.1 mix is almost dead for com- mercials.Typically, I am really doing a 5.0 mix rather than a 5.1 for commer- www.postmagazine.com October 2010 • Post 39