In article ,
Iain Churches wrote:
Yet again you've shown no understanding of my work. Dubbing these days
has to be a fast process. It's the very last stage of the programme
production. Any facility needed must be available there and then -
time is too precious to be hanging around waiting for a delivered by a
hire company.

If they are anything like as efficient in London as they are elsewhere,
a hire company could probbly get an FX unit to you very quickly
indeed. They are used to things being needed urgently.

Perhaps you have no idea of the size of London - or more likely that
dubbing facilities and hire companies aren't all located within the square
mile or so you know. Or perhaps your idea of 'urgent' is different from
mine.

For actual studio or location recording you may well rely on hired
equipment since it's more likely you can anticipate the need or not.
Dubbing is a different discipline.

But maybe in the case of facilities built with the tax
payers' money, anything goes:-)

Thought you've mentioned doing lots of work for what amounts to be
government subsidised - in other countries?

EU cultural foundation projects are a totally different thing. The
foundations themselves don't haver their own facilities as broadcasters
do.

But rely on 'public' money. The thing you apparently dislike by the
emoticon. Until you are in receipt of it, of course.

No matter - I'm referring to commercial operations. In one such -
perhaps following your peculiar notions - they didn't provide a
DigiBeta in the dubbing suite (for a prog mastered on that). Saying it
could be hired in as necessary. After the first month's statement from
the hire company, a permanent one appeared by magic.

Yes, of course it makes good sense to have equipment with a high level
of use permanently installed.

Any facility worth the name will have some equipment to hand which is
*not* heavily used. Just kept for when needed.

But as David has already pointed out, the effects we
are talking about here have nothing to do with matching
or adding an acoustic. They are artificial effects
pure and simple. I even used the word contrived.

It would be a very confident person who said no particular acoustic
existed in real life. If you'd ever tried matching real acoustics as
you do in dubbing, you'd realise just how varied they are.

I asked you to suggest such an acoustic to match the Bostic
recording (the contrived effect, remember?) You did not.
Neither did you describe the effects in the "normal terms"
about which you spoke.

I can't be bothered spending downloading the vast amount of stuff you
post, Iain. But I'll stick by my statement even without listening to it.

--
*Tell me to 'stuff it' - I'm a taxidermist.

Dave Plowman London SW
To e-mail, change noise into sound.