Music prod V. Post prod monitoring - does a chasm exsist?
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Very good question, I'd like to know as well... Personally I think you can get away with any quality monitor in "TV"-post, Theater-post I don't know. Probably all comes down to how well you know your monitors and how what you hear translates to the actual screening/broadcast. Room acoustics are important, but I think with music it is more critical than doing post.
RE: Music prod V. Post prod monitoring - does a chasm exsist?
A couple of things... First of all I, as a post production kind of scum hates bass management and I stay away from it as much as is possible and practical. (Can't always...) Secondly I have to say that the poster who said that you can (I paraphrase) pretty much use any quality monitor for tv may not be aware of the X-curve and other related subjects. You must use monitoring that can handle the specs. Just a cautionary note there. I would also say that room acoustics are every bit as important for post as for music. Every bit. Just so there is no confusion, for feature film work, I would be sure that I was using speaker systems that were designed for use behind a perforated film screen.....Oh yeah, the screen too...maybe that is a little obvious but there may be some people here who weren't thinking about issues of mixing theaters as opposed to the common near or mid field environments that are common today. If someone has to mix a feature using a smaller near field room, be aware that they will get into issues where the levels and spectral balances could be incorrect. In a case like that, I would print master in a mixing theater and I would want my predubs as well as stems so that I could correct for the inevitable issues that will arise. OT? sorry...
RE: Music prod V. Post prod monitoring - does a chasm exsist?
My personal preference is to mix with a system that as closely resembles the environment where the end user is going to hear it. If it's for a theatrical release, it's very difficult to achieve a good mix without working in a properly set up theatre style dub stage. Yes, it can be done, but why kill yourself second guessing how it will translate. Home theatre generally uses bass management, so I will always check on a bass managed system for anything going to DVD or broadcast surround. In the old days of mixing music, I would do a separate radio mix for the single to really make it pop over the car radio and a more "full range" mix for the album, which was usually played on a stereo system. Always consider the end user and keep in mind that you have a range of $2.00 earbuds for people watching DVDs on a flight to $100,000. audiophile home theatre systems to deal with.
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RE: Music prod V. Post prod monitoring - does a chasm exsist?
