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Topic: Updating digital audio processor to Datasat AP20
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Peter Castle
Expert Film Handler
Posts: 220
From: Wollongong University, NSW ,Australia
Registered: Oct 2003
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posted 04-05-2014 12:59 AM
Well, after over four years of digital cinema, we've decided to buy a new audio processor to replace our CP500. I feel that the AP20 seems to fit all our requirements. I would, however, like to seek advice regarding some options.
I've held off updating, hoping that one day we might use 35mm again - not so far. We've a Kinoton FP25E. But I hate to see us lose the ability. Our audio chain at the moment is CP500 with either analog, DTS or Dolby Digital, with the output being passed through an SDDS processor finally to our THX crossovers.
Could we feed that output somehow into the AP20 via its analog 8-channel input?
With the AP20 doing the theatre EQ, what happens with the CP500 and the SDDS EQ?
Should I continue to use the THX crossovers or use those in the AP20?
At least we'll be able to go to 7.1 - our surrounds are ready for that.
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 04-05-2014 01:06 PM
Since we have several theatres that will continue to run film (e.g. the AFI/Silver), we are often now putting a "DCinema" processor of sorts in and feeding legacy format into it as a source. Some of our site, again the AFI/Silver have extensive switching systems due to the whole complexity of the project so to rewire the world would be not only impractical, it would yield no benefit.
Thus far, in all of the situations, we have put the DCinema processor after the legacy equipment (whatever brand or model) and fed the DCinema processor (again, regardless of brand/model) as a 6 or 8 channel source, as the case may be. The legacy equipment had its EQs either flattened, bypassed or removed (one can cut down on the noise if the card is removed or bypassed...one benefit of processors like the Panastereo CSP1200...the modules no longer used may be bypassed and the cards removed even to be less drain on the power supply.
Thus far, we have normally set the new processor to jump the fader to reference so that the film processor's fader is still used for film. Thus, if you have the AP20, you would have it go to 7.0 when on the film format. For this to work, when you tune your room with the new processor and get it all balanced up, then go back, while the mics are still out and set the levels of the film processor to also be at reference. The net result is if they were running their films at "6.0" before...they still will. Nothing really changes from the film standpoint. This has worked out well for our clients.
I never like having more than one fader in a system but I also don't like the idea of feeding my nice new uncompressed LPCM DCinema audio through some 10-30 year old processor whose noise specs were just fine for optical film but are far noisier than most any of the DCinema processors (or other DSP solution)...also, why have the aged processor that now is only needed for film be the potential source of failure?
Ideally, I'd prefer to use a DSP solution that would have sufficient inputs, controls to select EVERYTHING as a source and provide it with suitable b-chain facilities like fader(s), EQ...etc. With some of these expandable DSPs that is certainly possible though not always cost efficient. However that is starting to change with things like QSC's Q-Sys and Rane's HAL and other examples of current DSP technologies. There is no need for a born-digital audio to ever turn to analog until it is heading to the speakers.
Harold...for the most part, our multi-channel audio ports are now being fed from a BluRay player. We are a dealer for the Oppo brand of BluRays and they provide an analog 8-channel output that will decode all of the current tracks.
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 04-07-2014 11:39 AM
Because...thus far there has been exist remote faders by each projector where they have established fader values. For DCinema, the fader level is set, more often than not, via cue rather than a person twirling a knob. Thus, if you let the film processor handle film volume and the DCinema processor handle DCinema volume, nobody gets really confused because it is all automatic and the familiar controls remain the familiar controls.
Neither of those processors are particularly input laden with much. I don't trust the CP650's CAT790 module to handle DCinema (too many instances of Robosound...thus far no problem with CAT778 though) and the JSD80...well...um....NO! Plus both of them can only handle one port open on their Ethernet ports (if the JSD model you are working with even has an Ethernet port).
By DSP with inputs...I mean something like a Q-Sys, Basis, HAL, BiAmp...and the list goes on. On something like those, you could get up to silly amounts of inputs/outputs. The idea is to have it be big enough to handle the job and perhaps have room for growth.
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