Recording Tips

[Martin Davey]

Again though prologic is not a noise reduction system, but a surround system based on the professional Dolby Stereo system. Osi is after recording soundtracks with a simulated noise reduction. Some people do use prologic with Super 8 as I understand it, with variable success. I did try it myself at one stage but as the 2 channel stereo on super 8 is quite bad to my ears, I was not impressed. The prologic decoder needs a good signal to start with.

[Ed Gordon]

Again though prologic is not a noise reduction system, but a surround system based on the professional Dolby Stereo system. Osi is after recording soundtracks with a simulated noise reduction. Some people do use prologic with Super 8 as I understand it, with variable success. I did try it myself at one stage but as the 2 channel stereo on super 8 is quite bad to my ears, I was not impressed. The prologic decoder needs a good signal to start with.

Agreed. I have not tried it myself, but just on specs, trying to get Dolby Surround off Super 8 magnetic tracks seems to be a stretch. The post on the old 8mm forum indicates that the final quality of the audio varies too much to justify the effort.

[Osi Osgood]

Well, many HAVE gotten really good sound quality out of two little miniscule mag tracks! I have a recording by Lance Alspaugh for my Revenge of the Sith that really is very good with quite good seperation. I would include Daves two recent releases, JAWS and JURRASIC. Paul adsett says that he had really good results with his GREASE re-record. So, don't vote out them lil mag tracks. In most cases, the primitive recording capabilities were more to blame than the actual mag tracks.

[Martin Davey]

I would agree that results would be better from a re-record though sadly I've never had anything like that to run. But when it comes to the commercial stereo prints realeased from Derann for example, I find myself playing them back as combined mono for the sake of better clarity, and don't even bother trying to get 2 channel stereo out of them.

[Brian Fretwell]

I remember another noise reduction system called DBX it compressed ALL the signal when recording and expanded it on playback to preset levels. I only heard one demonstration for 16mm at the Widex event in Watford, but it did sound good. I doubt if any equipment is still around now though.

[Martin Davey]

Interesting to hear that DBX made it to 16mm. Was it used in connection with a stereo source or mono I wonder? I believe that old DBX decoders are kicking about still in audiophile circles, for use with playing tapes, LP records etc. Looking online I see that new DBX equiplment is made for the professional recording markets. CX was another system of noise reduction found on some LaserVision disks and RCA Selectavision video disks. Some American TV services also used a form of noise reduction I understand.

[Osi Osgood]

Probably more likely in the thrift stores today. This was covered previously, but perhaps part of the problem with the Derann stereo prints, was the incredible fast pace used on they're machine. I forget the actual speed, perhaps 4x normal speed, but it was fast, and that fast speed left a lot of room for potential error. There is a YouTube video of Derann Films which shows the machine in use. I wonder what the consistency is of the mag tracks of today. There were originally brown mag stripes, but it seemed that they moved onto ablack mag stripe. Question:. Was the earlier mag stripe more of a normal bias, while the later stripe was more along the lines of a chrome stripe? One other question for super 8 recording pros ... Which stripe delivers the more reliable sound? The old paste laminate, or the "liquid" mag stripe of today?

[Paul Adsett]

One thing in Osi's favor is that he is re-recording using a Eumig 926GL Stereo which, like the electronically identical S938, does an amazing job of sound recording and playback. Superior IMO to the Elmo GS1200, with much better base and depth of stereo. With its excessive WOW at start up I don't know how anybody ever used the GS1200 to do intricate sound editing.

[Osi Osgood]

One thing works against me, Paul, my 926 is starting to be a little "wobbly" speed wise. Paul, if I finish the soundtrack for Xanadu, would you be willing to record it onto the film for me?

[Paul Adsett]

Osi, I am no expert at re-recording super 8, I don't even have a Renzo synchronizer. There is nothing that I can do that you cannot do yourself. All my re-recording has been done on a Eumig 926 using the "wild synch' method which means running the projector along side the video and making minor adjustments to the projectors speed control to keep in synch.
The good thing about using a 926 is 1) the excellent precision speed control on the projector and 2) the excellent and easy to use recording panel.
Make sure you run the projector for 30 minutes with film to warm it up and stabilize the speed. Then make a non-recording trial run to adjust the projectors speed control to get synch established. When watching both screens you want scene changes and cuts to be simultaneous. Then make your re-recording run and just tweak the speed control very slightly on the 926 to keep synch as close as possible.
It won't be absolutely perfect but no one will notice if you do a good job. Don't attempt more than 400ft at a time. Be prepared to repeat some sections if sync is noticeably off. Above all be patient and take your time.

[Osi Osgood]

Thanks 4 the suggestion about letting it run for 30 minutes. That might just work.