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Building out six FCP suites: curious about YOUR setups
Hey Guys-
We are in the process of building out six new edit suites in our facility and there is a bit of a debate in regards to the best way to monitor and handle audio within these rooms.
All the MacPro’s are being outfitted with Kona 3’s and a breakout box. The Kona 3’s ONLY spit out AES/EBU audio.
One of the questions is do we purchase an AES to ANALOG audio converter and simply run the outputs of the Kona through the converter and to a simple Mackie board or invest in a pricier and slicker digital console?
We do like the flexibility of having a console not all of our source material comes in with correct levels and we’d like to be able to correct that when we ingest, but I realize a lot of other folks do all their manipulating of audio levels in the box and never deal with the analog realm at all.
What are your setups in your studios? What type of gear are you guys using? I’d especially like to hear from the guys who are dealing with AES audio.
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2 Replies
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I’ve always been a subscriber to the “if the source is digital, you should take the footage in directly without any tweaking of levels” school of thought. The advantages are
a) less chance of errors.
b) it makes recapturing a no-brainer because it’s perfectly matchable to the original capture.Martin
Digital Heaven, London UK
Unique plug-ins and tools for Apple Pro Apps
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Avid2FCP
For Avid editors learning FCP -
[Proper Modulation] “All the MacPro’s are being outfitted with Kona 3’s and a breakout box. The Kona 3’s ONLY spit out AES/EBU audio.”
They also have a stereo RCA Audio output.
[Proper Modulation] “One of the questions is do we purchase an AES to ANALOG audio converter and simply run the outputs of the Kona through the converter and to a simple Mackie board or invest in a pricier and slicker digital console?”
AJA ADA 4 is all you need.
https://www.aja.com/html/products_converters_ADA4.html
[Proper Modulation] “We do like the flexibility of having a console not all of our source material comes in with correct levels and we’d like to be able to correct that when we ingest, but I realize a lot of other folks do all their manipulating of audio levels in the box and never deal with the analog realm at all.”
If it’s a digital source going in to the box, such as SDI, we don’t touch levels at all. Actually we never touch the analog sources either. We do all adjustments after it is in the system.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
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