Specifications

5.1-Channel Production Guidelines Production Techniques
5-13
requirements for mono compatibility in stereo mixes; taking this one stage further,
thought must be given to how our track will sound in stereo, mono and Dolby Pro
Logic, as well as 5.1. Specific attention must also be paid to the available options in
dynamic range settings accessible to listeners. The key tool in the checking process
will be the professional decoder, as it can mimic all of the possible listening
configurations quickly and easily. All of the methods used today to check the mix in a
variety of situations are as relevant with Dolby Digital as they are with conventional
stereo work. Taking a copy home, listening in the car, or on a small speaker to mimic
the sound of radio receivers is crucial. It may also be worth considering the
installation of a small consumer-style surround system in the mixing room for quick
and easy compatibility checks.
5.3.8 Production Tips
1. More discrete sources available for the mix will result in more control of the
soundfield creation. Record as many discrete sources as possible.
2. Echo and reverb effects may need to be rethought for 5.1 mixes. In particular,
elements present in the center channel which have echo or reverb effects added
will usually require some of the effect to be present in the center channel for a
more natural sound. Failure to include the effects for a vocal track in the center
channel will usually produce a naked sounding vocal. There is much debate over
this matter and probably will be for some time.
3. Remember that some listeners will hear a downmix of the 5.1-channel mix. It may
be decoded with a Dolby Surround Pro Logic decoder or heard in stereo. It is