Briefingroom

Mixonline Briefing Room

Archive of the Sound for Picture Category

ARGOSY Presents Video Interview with Producer/Mixer/Songwriter (and Financial Advisor) Glenn Rosenstein to Celebrate Company’s 20th Anniversary

GlennatArgosyEldon, MO (September 18, 2014) — ARGOSY Console is very pleased to announce the release of their new video interview with renowned producer/engineer/mixer/songwriter (and financial advisor) Glenn Rosenstein, the first in a series of video interviews with their outstanding customers, as part of the celebration of the company’s 20th Anniversary.

Glenn Rosenstein started his career in his native New York City at the Power Station Recording Studio, and then Sigma Sound Studios, where he became a highly sought-after mixer and remix engineer, working with artists such as U2, Madonna, Talking Heads, The Ramones, Lisa Lisa & Cult Jam and many others. As a producer, mixer and engineer, Glenn’s projects have won 3 Grammy Awards, garnered 5 Grammy nominations, and have won both an Oscar and a Golden Globe award. His music production & mixing credits for film & television include top shows such as The Sopranos, Married to The Mob, Charmed, Beverly Hills 90210, All My Children and Buffy the Vampire Slayer. His music production and mixes continue to be diverse, working with artists from Ziggy Marley, Livingston Taylor and Andrew St. James to James Taylor, Carly Simon, The Soft White Sixties, and Bif Naked. In addition to music production, Rosenstein is also a partner in Wealthpoint Financial Group in Brentwood, TN.

And whether its making great records or great financial deals, Rosenstein recognizes the importance of having a great workspace, “As a record producer, I got used to the privilege of having a certain level of quality gear at my disposal, so I wanted to take it all with me into the financial world,” says Rosenstein. “My Argosy Aura desk gives me a sense of comfort and familiarity, with great design and ergonomics. It enhances my workflow, whether in music or financial services or whatever else I do.”

See the entire interview with Glenn Rosenstein at: http://www.argosyconsole.com/transformed/contest.html.

About ARGOSY
ARGOSY is the leading designer and manufacturer of high-end technical furniture for leading recording control rooms, post-production houses, film facilities and high tech venues worldwide. The company prides itself on responding to clients’ individual application-specific needs using a variety of custom materials and unique finishes, with careful attention to aesthetic design and ergonomic details. Since 1994, Argosy products have been installed at thousands of award-winning facilities in countries worldwide.

Build your own Dream Studio by visiting www.argosyconsole.com

ARGOSY® and Dream Studio® are registered trademarks of Argosy Console, Inc.

Steve Pederson Picks Penteo 4 Pro for “The Equalizer”

Stereo-to-5.1 Surround Upmixer Delivers Multi-channel Score

Penteo_Pederson_6_400px

Pictured in the Anthony Quinn stage at Sony Pictures Studios with the Penteo 4 Pro plug-in onscreen is re-recording mixer Steve Pederson. Photo by David Goggin.

Academy Award-winning re-recording mixer Steve Pederson recently employed the new Penteo 4 Pro stereo-to-5.1 upmixer plug-in for the current film “Into the Storm” and upcoming, “The Equalizer.” Pederson used Penteo to create multichannel surround mixes from stereo recordings by Moby and Eminem.

“Penteo is the most clever upmixing tool I’ve encountered to create interesting surrounds and musical bass,” says Pederson. “It opens up the theater sound richly and with great detail. Penteo is simple to use and has a variety of useful parameters. It’s the perfect tool to ‘magically’ unlock a 2-track stereo file and fill the theater with surround in a very interesting way.”

Pederson has been nominated for numerous awards including three BAFTAs, and twice for an Academy Award. He won the Oscar for “Apollo 13″ in the category of Best Sound.

“I use Penteo as a ‘one stop shop’ tool to take any stereo track and generate a warm, precise and effective sounding surround mix,” Pederson continues. “I’m impressed how Penteo can isolate channels so cleanly, so discreetly and then spread them through the surrounds.”

Pederson took stereo sources and created multi-channel mixes for the recently released “Into the Storm” (5.1) and Sony’s upcoming “‘The Equalizer” (7.1) “Using Penteo 4 Pro, I upmixed both films to surround formats and was very pleased with the results. Penteo gets you to a great sounding upmix with no fuss, and is an efficient tool to have handy.”

Pederson elaborates on the way Penteo handles lower frequencies: “What I like about Penteo’s subwoofer is the definition. If you mute all the full range speakers in the theater and just listen to the sub you’ll hear a nice, tight, punchy bass. Penteo is more musical, it defines the beat of the music better. It doesn’t rumble and roll, it rocks and rolls.”

In the creation of a soundtrack, “temp” mixers are often used before the final music is composed and produced. “Another area where Penteo can really help is during the early stages of post-production. I take stereo tracks and run them through the Penteo plug-in to immediately give the temp score a full and rich 5.1 feel that emulates a proper mixed final score and really elevates the quality of the temp mix.”

Pederson has worked mostly at Warner Bros. Studios for more than fifteen years, and enjoys the talented community, the historic setting and the top-of-the-line facilities offered. Throughout his career, he has seen the contribution of film sound evolve with more and more channels, greater dynamic range, and higher fidelity to give the audience a more powerful experience to express the story.

“I love this work and I’m a fan of this plug,” he concludes. “I won’t go into a mix without it being part of my tool kit.”

Read the entire Interview with Steve Pederson and other industry leaders in the Perfect Surround Master Class series:
http://tinyurl.com/lq75dwz

Native AAX64 Support
Penteo 4 Pro natively supports Avid Audio eXtension (AAX) for true 64 bit processing.

Free Trials
Hear the Penteo difference for yourself with a free trial: http://www.perfectsurround.com/request-a-trial

About Audiotech Digital Limited (ADL)
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by ADL, Penteo 4 Pro remains faithful to the original stereo mix; no artificial sound manipulation is used. The Penteo 4 Pro plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, crisp and discrete center-channel, and only Penteo is 100% ITU down-mix compatible to the original stereo. Penteo has won multiple awards been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64/RTAS32/VST32/AU32 formats. For more information, visit: http://www.perfectsurround.com

NUAGE Demo Hosted By CTS Audio

NUAGE 2 low

BUENA PARK, Calif.—A Yamaha NUAGE Demo will be held by Yamaha Commercial Audio Systems and hosted by CTS Audio on Monday, October 13 between 7:00 – 9:00 pm at 7108 Crossroads Blvd, Suite 308, Brentwood, TN. The event is free of charge.

A joint collaboration between Yamaha and Steinberg, the NUAGE Advanced Production System is the brainchild of workflow efficient hardware and Nuendo 6 software operating together in perfect harmony. Offering unprecedented productivity and flexibility as well as premium audio quality in an innovative design, NUAGE is making waves across the world.

David Lees and Chris Hinson from Yamaha Commercial Audio Systems, Inc. will be on hand to demonstrate the new Yamaha NUAGE production system
and discuss the latest news, tips and tricks of Nuendo recording software.

For more information and to register, email rsvp@ctsaudio.com.

-END-

Rob Macomber Picks Sanken Stereo Mic for Jazz at Lincoln Center

Adjustable Dual Capsule CUW-180 Captures Historic Performances
Sanken_Macomber_350px
Pictured in the Music Studios at Jazz at Lincoln Center is chief engineer Rob Macomber holding the Sanken CUW-180 stereo microphone.

As Chief Engineer of the Music Studios at Jazz at Lincoln Center for SiriusXM Satellite Radio, Grammy and Emmy Award-winner Rob Macomber puts his extensive knowledge of audio, technology and music to use to ensure that the world-class artists performing there nightly sound just as good on live radio, television and internet broadcast as they do in the concert hall.

One of Macomber’s favorite microphones is the unique Sanken stereo CUW-180, comprised of two exceptionally engineered cardioid condenser microphones combined in one compact body. Each of the two 180° capsules is independently adjustable with 15˚ detent, providing a versatile microphone for a variety of stereo and Surround recording applications.

“The CUW-180s perform wonderfully anywhere and everywhere,” says Macomber. “On a regular basis I use them as a pair over the stage for ambience. That’s my standard main stereo pickup over the stage. Eight feet up or so, at the lip of the stage angled at 45 degrees. I also use them for ensemble sections, like trombones and trumpets. As a section mic it is fabulous.”

In his nine year tenure at SiriusXM, Macomber has worked with a who’s who of modern day musical giants, including Wynton Marsalis, Bobby McFerrin, Eric Clapton, Willie Nelson, Paul Simon, Sting, Beyonce, Santana, Andrea Bocelli, Chic Corea, Dave Brubeck and Joshua Bell, helping them all sound their best on-air.

“The stereo Sanken mics give me the full frequency spectrum,” remarks Macomber. “On the low end, the proximity effect is very minimal, although I’m primarily not in close-miking situations. The 180 is very flat throughout the frequency spectrum. No boominess, no having to roll off the low end, very smooth on the top end. Off-axis it’s very natural sounding.”

Over the course of his prolific career, Macomber has recorded and/or mixed music for highly-rated television broadcasts such as the Tony Awards, the MTV Video Music Awards, Country Music Awards, American Music Awards, Victoria Secret Fashion Show, Fashion Rocks, VH-1 Divas, VH-1 Storytellers, AOL Sessions, Live from Lincoln Center Series and numerous DVDs and concert films.

Macomber comments on the unique dual capsule design and the precise detente adjustment. “It’s a killer design in a fairly fast-paced environment, where I do get a sound check, but it’s still a live show. Each show is different and when it’s happening I can’t stop the show and say, ‘Hey, we need to reposition that mic.’ I can get that mic position spot-on and know that one click wider or one click narrower on both capsules will land me where I want to be. Then if need be, I can simply adjust the panning on the desk on the fly. The quick paced broadcast environment for a live show is quite a challenge — the Sanken is a great performer.”

Macomber has been honored with many awards and accolades, including two Grammy Awards (for his engineering work on Arturo O’Farrill’s “Song for Chico” and Kurt Elling’s “Dedicated to You,” in 2008 and 2009, respectively). He was also a member of the sound team that received the 2010 Emmy Award for Best Sound Mixing for a Variety or Music Series or Special for “The 25th Anniversary Rock and Roll Hall of Fame Concert.” He is also a two time TEC Award nominee.

To read the entire interview with Rob Macomber,
visit: http://tinyurl.com/nzu6xef
Learn more about Sanken microphones: http://sankenstudio.com

See the entire family of Sanken microphones at AES in LA Booth #1034

Anthony Marinelli Chooses Barefoot Sound

Composer/Producer Works in Film, TV, Commercials and Stage
Barefoot_Marinelli_6_400px
Pictured in his Los Angeles studio with his Barefoot MM27 monitors is composer/producer Anthony Marinelli. Photo by David Goggin.

“Before I got the Barefoots, I had 4 pairs of very high-definition monitors,” says award-winning composer/producer Anthony Marinelli. “I had 8 of them, because I rotate them into the 5.1 arrays I’ve had since I bought the first pair from Michael Jackson. They were his speakers and I just liked them and never could find any replacements. Then the Barefoots showed up and they were the first speakers that truly spoke to me and said I’m your new speakers.”

Marinelli has composed, conducted and performed music for over sixty motion pictures, including “Hotel,” “American Gun,” “Young Guns,” “Internal Affairs” and “Timecode.” He also composed music heard in “Leaving Las Vegas,” the action film “Demolition Man” and hit comedies “Let It Ride” and “Planes, Trains & Automobiles.”

“The sound of the Barefoots translates the best,” Marinelli continues. “It doesn’t hype the sound when I’m recording. It gives me the full audio spectrum from lows to highs. They’re very quick. The transients are very rapid. I deal in a lot of different genres of music and it’s not like I use a certain kind of speaker for one kind of music and another kind of speaker for another. These speakers are just the truest that I’ve ever come across.”

Marinelli has also composed music for thousands of commercials including over 30 Apple Computer spots, spots for Microsoft, Nike, Mercedes-Benz, Chevrolet, Budweiser, Jaguar, Southwest Airlines, Boeing and the iconic “This Is Your Brain on Drugs” campaign.

“You pay now or you pay later,” he comments. “If the monitors make it sound better now, then I go somewhere else and it doesn’t have that enhancement, then I’m going to pay, because I’m going to be missing something or there’s going to be too much of something, whether it’s low or mid or high.”

Marinelli’s LS studio houses an array of choice instruments: two ARP 2600s, a Linn Drum machine, Jupiter-8, Prophet-5, Minimoog, Korg MS-20, ARP Omni, Roland Space Echo, Roland Vocoder, Echoplex, Clavinet Pianet Duo, and a Fender Rhodes. “My Doctor Click is really valuable for syncing all these various instruments and driving quick tracks and creating pulses,” he explains. “And my most prized instrument is a 9-foot Concert Grand handmade piano given to me by David Abell. It was the piano that was used for all the Disklavier recordings.”

Marinelli has been honored with numerous Clio, Silver Lion, Belding and Addy awards. He revolutionized post production workflow as co-originator of Levels Audio Post. By integrating a new style of mixing music and sound for picture, it quickly became the industry’s fastest growing and most in-demand facility. His state of the art complex located at the historic corner of Hollywood and Highland was the first choice of discriminating projects such as American Idol, The Bachelor, and the VH1, ESPN, Teen Choice and MTV award shows.
Read the entire Anthony Marinelli interview and learn more at the new Barefoot Sound website: http://barefootsound.com/audio/a-conversation-with-composer-anthony-marinelli/

Learn more about the Barefoot Sound MicroMain 27 monitors at : http://vintageking.com/barefoot-sound-micromain-27-gen2-pair

See and hear the entire line of Barefoot Sound monitors at
AES in Los Angeles Booth #1031

ABOUT BAREFOOT SOUND
Barefoot Sound was founded by Thomas Barefoot with the goal of creating a new breed of studio monitor. While project studios were sprouting up all over the world, filled with outstanding gear, yet with limited space, Thomas Barefoot recognized the need for a speaker that could transcend the traditional distinctions between nearfield, main and mastering monitors. Translating effortlessly and never requiring second-guessing, Barefoot Sound monitors are recognized throughout the music industry as multifunctional masterpieces. By creating one studio monitor that fits into a small physical space with leading edge technology and astounding clarity, Barefoot has set a new standard. Handcrafted in the USA.

For more info visit: http://www.barefootsound.com tel: 503. 894. 8602

Human Highway (Director’s Cut) – World Premiere at TIFF

Neil Young’s 1982 Film Restores Lost Sound & Dialogue using Unique Audio Techniques

HH_poster_250px

Toronto International Film Festival: Shakey Pictures is proud to announce the World Premiere of Human Highway (Director’s Cut) at the Toronto International Film Festival today. The director’s cut version of Neil Young’s mind-bending 1982 post-apocalyptic musical comedy conceived in the cauldron of Cold War America, in which the rock legend writes, directs and stars alongside an eclectic and eccentric cast including Dean Stockwell, Russ Tamblyn, Dennis Hopper and members of the band Devo. Human Highway was painstakingly restored using modern techniques for high quality sound but done without violating the intent of the original sound mix. Restoration difficulty was further compounded by the fact that several of the original masters were missing.

Human Highway – Take One
Production of the film began in the late 1970′s and led to an eventual screening at the Mill Valley Film Festival in 1982. However, mixed reactions from the assembled audience of film buffs and music fans gave the producers cause for reflection and they immediately went back to editing, resulting in parts of the movie being strewn about all over the cutting room floor and destined to be forgotten and left behind.

Thus began an epic journey to find the elusive missing footage that would help piece back together their original vision of a possible future. Digging through over thirty years of archives, the team at Shakey Pictures was then tasked with locating, cataloging and viewing every element ever associated with the film in the hopes of finding the masters.

The Quest for Lost Audio
The first step in the search was to identify the master analog multi-track tapes so they could be restored and transferred at high resolution for digital assembly and surround sound mixing. To begin with the highest possible sound quality, the original 2″ 16-track multis were converted at 24-bit/192-kHz. However, it was discovered that that the music and dialogue tracks were not on separate tracks but rather were already mixed on these master reels.

HumanHighway_reels_300px
Montage of the original Human Highway tapes and reels – Shakey Pictures

The team went back in the vaults again to find the 16-track reels with isolated dialogue and music, but other than locating music on 1/4″ reels, there was no source material with the master dialogue. So as a final step, the search was on to find the original Nagra reels to get clean dialogue. The dialogue reels were located, and incredibly – the original Nagra IV-S machine was found – the exact same machine that had actually been used on set in 1982. Originally introduced in 1971, the Nagra IV-S recorded two-track stereo. It had dual level pots, limiters, and equalizer presets and was considered the highest quality in its time.

With the tapes and the reels in hand, each Nagra reel had to be reviewed to locate the exact takes that were used for the film. There were then transferred to high resolution so that the post-production process could begin using the best sounding and cleanest sources. “As I listened through boxes of Nagra reels, I really felt like a fly on the wall of the set” said Will Mitchell of Shakey Pictures “Often tape was rolling wild both before and after takes, so I got to experience the process and understand just where the crew was in capturing the master performances. As with many films, the improvised lines on alternate takes were incredibly creative and fun. It was clear that this was a fun shoot.”

“Worldizing” Re-Mixing Technique
A unique audio technique – called “Worldizing” – was applied to scenes for the Director’s Cut. Rather than applying a plugin or an effects processor to flat or dry audio, Shakey Pictures used Worldizing to give the sound great depth, dimension and realism by playing the audio back in a suitable acoustic space and then re-recording it. This resulted in real world ambience and reflections, something that digital production can only approximate. Some examples of Worldizing can be heard inside the garage at Otto’s Corner, during the radio broadcasts and in some of the music. These Worldized tracks were also used as a blended effect to create the foundation for post-production.

Surround for Climactic Dream Sequence
Once in post-production, one of the major challenges of mixing Human Highway was dealing with all the separate elements. Because it was mixed so long ago, it was difficult to find the pieces all in one place. Quite often each mix would start with a partial stem with dialogue and effects and music all mixed together. Then, later in the workflow, the effects and music were mixed together, but the dialogue separate and isolated.

But this was not always the case; often the discreet stems would have just dialogue and no effects and music, or just effects and no music and dialogue and so on.

It was a significant and time consuming effort to equalize and blend multiple sources into a seamless track. “Working with all these sources was very much like an Easter-egg hunt”, said Tamara Johnson, Sound Designer and Re-recording Mixer of Post-Apocalyptic Studios. “The goal was to make the film’s ‘Linear Valley’ setting seem very normal – although was far from it! So to lull the audience into this normalcy, the background mix is stereo and dialogue and effects, mono. No panning was used, the sound is pure and comes straight up the middle into the audience.”

The film then builds up to the climactic scene when Neil Young’s character “Lionel” suffers a bump on the head and drifts into an intense ‘dream sequence’ that sees Lionel become a rock star and performs a ten-minute studio jam scene where Young and Devo play together.

HumanHighway_still_400px
Neil Young and Devo in Human Highway’s Dream Sequence – Shakey Pictures

Now that the audience is conditioned to the stereo/mono effect, the goal was to shock them by introducing new sound elements for this dream sequence. The objective was to make Lionel’s dream sequence ‘huge’ using surround elements with wide and isolated channels swirling around the room. “We tried to make this scene larger than life”, said Johnson. “It was vital to have a high quality surround mix with no phasing or delays so I used Penteo to upmix backgrounds and music into 5.1 Surround for this pivotal dream sequence”.

The crowd surround elements were mixed around the room, effectively placing the viewer in the middle of the scene so that the audience becomes ‘Lionel’ for that intense moment. The film closes when Lionel wakes up and finds himself back in ‘normal’ Linear Valley – the dream is a fantastic contrast to reality.

About Shakey Pictures
Shakey Pictures, founded in 1972 by Bernard Shakey has over 40 years filmmaking to its credit and has produced such memorable titles as “Journey Through The Past”, “Rust Never Sleeps”, “Human Highway”, “Solo Trans”, “Muddy Track”, “Weld”, “Year Of The Horse”, “Silver and Gold”, “Greendale”, “CSNY/Déjà vu”, “Heart Of Gold’, “Trunk Show” and “Journeys”. For more information see the official Toronto International Film Festival Website: http://www.tiff.net/festivals/thefestival/programmes/specialpresentations/human-highway
or our website: http://tinyurl.com/ncfn2yu

About Penteo
Penteo transforms any stereo recording, soundtrack, DJ mix or live television broadcast into perfect 5.1 surround sound. Developed by Audiotech Digital Limited, Penteo remains faithful to the original stereo mix; no artificial sound manipulation is used. The Penteo plug-in creates a perfect surround experience for all stereo media with zero sonic artifacts, crisp and discrete center-channel, and only Penteo is 100% ITU down-mix compatible to the original stereo. Penteo has been used by major studios on hundreds of films, TV shows and music recordings and supports AAX64, RTAS, VST and AU formats. For more information, see our website http://www.perfectsurround.com

Full Compass Hosts NUAGE Demo, Nuendo Master Class

NUAGE 1 low

BUENA PARK, Calif.—A Yamaha NUAGE Demo and Nuendo Master Class will be held by Yamaha Commercial Audio Systems and hosted by Full Compass on Tuesday, September 23rd at 9770 Silicon Prairie Parkway, Madison, WI. The event is free of charge. Product tours will begin promptly at 6:00pm, 7:00pm and 8:00pm.

A joint collaboration between Yamaha and Steinberg, the NUAGE Advanced Production System is the brainchild of workflow efficient hardware and Nuendo 6 software operating together in perfect harmony. Offering unprecedented productivity and flexibility as well as premium audio quality in an innovative design, NUAGE is making waves across the world.

David Lees and Marcel Mauceri from Yamaha Commercial Audio Systems, Inc. will be on hand to demonstrate the new Yamaha NUAGE production system
along with Full Compass Systems staff and discuss the latest news, tips and tricks of Nuendo recording software.

For more information and to register, email rsvp@fullcompass.com.

-END-

LECTROSONICS WIRELESS TECHNOLOGY IS “UNFORGETTABLE”

** Photo: (from left to right): Gary Silver, Paul Koronkiewicz, and Larry Hoff **

** Photo: (from left to right): Gary Silver, Paul Koronkiewicz, and Larry Hoff **

New York, NY – September, 2014… As it starts its third season, CBS’ hit TV show Unforgettable is looking to capture solid ratings during the increasingly competitive summer season. The show stars Poppy Montgomery as Detective Carrie Wells, a female police detective with an unusually detailed memory, and her partner Lieutenant Al Burns, played by Dylan Walsh. Capturing the action involves an innovative approach to sound recording—and to ensure the highest quality audio, Production Sound Mixer Larry Hoff, CAS relies on his arsenal of wireless microphone equipment drawn from the catalog of Rio Rancho, NM-based Lectrosonics. more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

No Comments

Related Topics: News, Sound for Picture |

Westlake Pro Launches New E-Commerce Website

Celebrates with September Sweepstakes – 30 Days of Giveaways!

Los Angeles, CA – Westlake Pro, a leading retailer of professional audio, recording gear, live sound equipment, and technical services has launched a completely new and redesigned website and full-featured online store. To celebrate the grand opening, the company is hosting a sweepstakes during the month of September and giving away 30 prizes from a host of top pro audio brands.

WP_Sept_Sweeps
more

Fairlight Showcases 3D Audio Workspace at IBC 2014

Fairlight AirPan

At IBC 2014, Fairlight will showcase 3D Audio Workspace (3DAW), a new platform for immersive and object oriented 3D Sound Production.

Aimed at the film and television post production market, 3D Audio Workspace reinforces the industry’s drive for the ultimate in cinematic and immersive sound delivery by providing a comprehensive and diverse environment for 3D audio production.

“Fairlight has always had a reputation for pushing the boundaries of technology, but even by our high standards 3DAW is one of the most exciting products we have launched in many years,” says Tino Fibaek, Fairlight’s CTO.

One of the features that make 3DAW so unique is AirPan – a brand new concept that allows operators to use a Virtual Reality (VR) style input to position and control images in a 3D space.

“This feature is incredibly cool because you can literally reach out into the airspace monitored by the controller and by just moving your fingers in the air, you can pan, rotate, tilt and spread your sound in space,” Fibaek adds.

Fairlight’s 3DAW adds immersive sound capabilities to an existing digital audio workstation, whilst remaining fully compatible with an established workflow. This open platform configuration support VST® and RTAS® plugins, as well as ASIO® for I/O and sync sharing.

“The philosophy behind Fairlight’s 3DAW is to give sound mixers a post production solution that works with all platforms,” Tino Fibaek adds. “Different deliverables require different technologies, so Fairlight’s immersive platform provides the best of both worlds, supporting object orientated implementations such as Dolby’s Atmos and DTS’ MDA and fixed bus formats in 2D and 3D, from stereo through to 5.1 and all the way up to NHK’s impressive 22.2 format.”

Fairlight has ensured post production facilities can easily connect to their studio workspace. Integrated, user definable B-chain processing supports up to 34 discrete speaker outputs allowing sound mixers to switch instantly between different surround formats, different speaker sets, speaker muting and soloing and comprehensive metering.

For more information about Fairlight’s 3D Audio Workspace and other innovations in the Fairlight range, please visit us at IBC 2014 – Hall 7, Stand H17. Or visit the company’s website –www.fairlight.com.au

-ends-

About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.
www.fairlight.com.au

Calendar

September 2014
M T W T F S S
« Aug    
1234567
891011121314
15161718192021
22232425262728
2930  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication

Fairlight Xynergi Media Production Centre


Mix Briefing Room, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the Briefing Room for the latest press postings.