Each made-to-order Skillet boasts an array of features, including:. Skillet works with any automatable plug-in. Due to the way Avid has implemented plug-in control, this is not possible at this time to control more than one plug-in simultaneously. However, Skillet can control eight if you include the two faders parameters of a single plug-in at a time. You can use it as an upmix plug-in to take stereo content and create surround versions and also as a surround panner plug-in too.
I just can't see an external pop up window for it wherever I click. It looks like this — coaxmw. It looks like this designingsound. It's always worked well for me and can write automation from the panning window. No insult taken honestly. I should've read the manual, I would've skimmed it and missed it though I bet.
Thanks again! Sign up or log in Sign up using Google. Sign up using Facebook. Sign up using Email and Password. Post as a guest Name. Email Required, but never shown. The Overflow Blog. Podcast Making Agile work for data science. Waves' M Manager helps the process of calibrating a surround monitor setup. In essence, you will want to capture the normal sound as you have always done, but also to capture more ambience or room sounds to enable you to place the listener in a 3D soundfield.
In order to do this you must first 'listen to your room'. With conventional stereo recordings, we can choose mic placements that can reject some of the room sound, but in a surround recording that room sound is an integral part of the overall sound. This makes the quality of the acoustics of the room very important, and may mean you have to choose a more expensive studio to record in — one that has a good room sound because they spent the money on a good room design!
To illustrate this, let's look at recording a drum kit as an example. Normally you would have a conventional mic setup of kick, snare, hi-hat, toms and overhead mics. For a surround recording, you might add to that four 'surround' mics, spaced perhaps four feet in front of and behind the drum kit and around six feet apart. These extra mics can then be routed to the left, right, left surround and right surround channels and mixed to suit, so enabling you to place the listener in with the performers — or, by using more of the 'rear' mics, to place the listener in the 'front row'.
As you track other instruments you can build on this concept: for an electric guitar, for example, as well as using the traditional SM57 on the cabinet, you could try recording a 'space' mic six feet back into the room, maybe quite high up, to use in surround channels.
Obviously, if the recording space doesn't lend itself to adding loads of ambient mics — maybe because the background noise level is too high — then you can use a good reverb plug-in instead.
Surround reverbs will do better than stereo ones in this context, but even so, it is more difficult to replace a 'real' space than in a stereo recording. Other approaches to surround recording include the so-called M-S-M array.
The front output is produced as normal and the rear output uses the new rear-facing cardioid and the same figure-of-eight as the front for the surround channels. A typical 5. Another alternative is the Soundfield system, which enables you to record in surround with one microphone. The Soundfield mic processor can produce four outputs in what is called the B-Format, where the 'W' source is an equivalent to an omni mic, 'X' represents the front-to-back information or depth, 'Y' represents the left-to-right information or width, and 'Z' represents the up-and-down information or height.
If you record these four outputs, it is possible at the mixing stage to recreate the illusion of a mic 'looking' in any direction using the Soundfield processor. With all these techniques, experimentation and your creativity are key. Don't be limited by the rules, but do check and listen carefully to what you do to make sure it works in mono, stereo and surround. Create a new path and select 5. You will also need to set the order of the surround outputs. To do this, click on the '5. You can also select sub-paths, which will enable you to route audio just to specific outputs like the Centre or Surround channels.
To do this, select the main path, in this case '5. You can then create a range of sub-paths to suit your project. Digidesign's surround-compatible Revibe reverb. To monitor in 5. Ideally, the five main speakers should all be the same brand and model, and certainly from the same 'family'; it is quite acceptable for the surround speakers to be a smaller speaker from the same range, but it is generally accepted that the front three should be the same.
Your main speakers should be 'full range' and not depend on the sub for low-frequency reproduction. You are then able to chase the action with your automation moves. A very extreme instance would be taking the dialogue up to percent left or right. That would be a case of the character being completely off screen and you need to draw attention to it.
However, a more comfortable number would most likely be somewhere in the ballpark of less than 20 percent each way. Foley Footsteps : Footsteps are so often not heard and because of that I like to give them a little life and completely take them out left or right.
Of course there are varying degrees of this, but that is determined by how close or far they are to the frame of picture. Sound Effects: This has to do with taste. I generally take sound effects that are completely off screen somewhere in the percent range. Anything more than that is for extreme cases and for dramatic purposes. What this does, is it fully envelops the listener.
It brings the audience into that scene and it makes the music become more than just music. It becomes an ancillary character and therefore adds another layer to the story.
Sound Effects: Same thing with sound effects.
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