Rose, who worked as an adapter until 1954 when he wrote "12 Angry Men" (1954) and the controversial "Thunder on Sycamore Street" (1954). Often the same writers, such as Reginald Rose, who had adapted for Studio One now wrote originals. Nickell in particular has to stand as one of the greatest-and unsung-television directors: he never made the mistake of thinking a good TV drama has to look like a film.īy the mid-1950s the emphasis of production material had turned from adaptation to new works written for television, often giving attention to contemporary issues. Both directors were committed to pushing the live studio drama to the limits. Nickell would be given the more "sensitive" scripts, Schaffner the epics, the action. ![]() Jackson used two directors, Paul Nickell and Franklin Schaffner, each with his own technical staff, who would alternate according to the material. Miner left to join NBC in 1952, but the show regained an even clearer sense of identity and purpose when Felix Jackson became the producer in 1953. For example, "Battleship Bismarck" made advanced use of telecine inserts, three-camera live editing within a confined and waterlogged set. Studio One adopted a serious tone under Miner, but also a pioneering spirit. Julius Caesar, 1948) and innovation ("Battleship Bismarck," 1949). Miner's control emphasised certain "quality" characteristics: adaptation (usually of classical works, e.g. Its first production was an adaptation by Miner of "The Storm" (7 November 1948). Studio One began as a CBS radio drama anthology show in the mid-1940s until CBS drama supervisor, Worthington Miner translated it to television. From the beginning Studio One's "house style" was foregrounded not only by the quality of its writers, but primarily by its production innovations, professionalism and experimentation within the limits of live production. Studio One provides an emblematic continuity for the 1950s drama: it was the longest running drama anthology series, lasting ten years from 1948-58, from the "big freeze" through the "golden age" to the made-in-Hollywood 90-minute film format: in all over 500 plays were produced. A full assessment would necessarily consider each distinctive anthology series (and assess its "distinctiveness" from others) as a whole, and the failures and achievements of individual productions. They worked to develop a "house style," a distinctive reputation for a certain kind of difference and diversity, whether based on quality writing, attention to character over theme or, more typically, technical and artistic innovation which developed the form. Yet the one hour live format was one they had in common with each other, and because of that very fact they had to distinguish themselves from each other. Writing about television, Stanley Cavell has argued, "What is memorable, treasurable, criticiseable, is not primarily the individual work, but the program, the format, not this or that day of I Love Lucy, but the program as such." While this admonition might admirably apply to the telefilm series that came later, the 1950s drama anthologies were premised on the fact that they were different every week. Several hours of live drama were provided by the networks per week, each play different: such risk and diversity is hard to come by today. Like other anthology series of the time- Robert Montgomery Presents, Goodyear Television Playhouse, Philco Theatre, Kraft Television Theatre-the format was organised around the weekly presentation of a one hour, live, television play. You can see very clearly if your low end falls in line with it or not.Studio One was one of the most significant U.S. I then started compensating by making sure my sub bass was tamed, the bass was extra bumpy and low and behold it would sound a ton better on other systems.Īnother good thing to do is bring in a reference track that you know very well, volume match it with your track, and run each through a multiband compressor. ![]() I had KRKs so my low end always sounded good in the DAW but then it was thin elsewhere, or I’d have a lot of sub bass information I couldn’t hear so it would be loud as fuck on a system that had it. ![]() You can still make a great mix as long as you learn your speakers. The crazy thing is that almost every mix on those things has translated almost 1:1 from the DAW, to earbuds, to the car. I’ll crank them every now and again to see how it opens up when I need to. I just keep it at a lower volume to minimize reflections, and use the filter switch to knock the bass on the corner speaker down 2db. My room is currently a very small, square, low ceilings, and I’m in a corner.
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