Archive of the Sound for Picture Category
Digital Recorder Provides Flexibility Needed for Range of Feature Film Productions
NEW YORK, MAY 21, 2014 – Veteran Sound Mixer Danny Michael, whose recent portfolio includes the high-profile feature films The Secret Life of Walter Mitty with Ben Stiller, John Wick, starring Keanu Reeves and Non-Stop, with Liam Neeson, understands the importance of capturing pristine audio in the field, which is why he relies on Sound Devices’ 788T-SSD Digital Recorder for his audio production needs.
For his work on The Secret Life of Walter Mitty, Michael utilized two rigs, one portable and one cart-based, each outfitted with the 788T-SSD Digital Recorder and Sound Devices CL-WIFI interface. Michael was tasked with capturing all audio, including dialogue, effects and ambience, for the film. While the majority of the movie is set in New York, the production team spent five weeks shooting in Iceland.
“I redesigned my cart so it could be a little more flexible, portable and useable for the remote situations we were going to be presented with,” says Michael. “While I had the capability of using the 788T-SSD over my shoulder for the more challenging situations of working atop glaciers; there were times where I knew we would have more complicated work, and I wanted to have my cart. It wouldn’t have been possible to make it as small and durable as it was if it wasn’t for the 788T.”
Along with his Sound Devices 788T-SSD and CL-WiFi interface, Michael’s cart also includes the Lectrosonics VRT-Venue System, Lectrosonics radio mics, Schoeps CMC-6U and CMIT-5U microphones, a Cooper Sound 208 mixer, Blackmagic dual seven-inch monitors and a Denecke Dcode GR-1 as the main time clock.
Michael used this same cart for John Wick and Non-Stop. As John Wick was action-oriented, with a lot of gun fights and quick movement, it required a lot of sound effects. It also employed a file-based workflow. Sound Devices ability to seamlessly swap out removable storage was a huge asset onset, as Michael simply supplied his CompactFlash cards to Light Iron, a post-production company specializing in on-site dailies, digital intermediate, archival and data services for projects originated on file-based motion cameras, for them to process the dailies on set.
“I was basically handing over my sound every time a camera roll changed, to a person who was literally five feet away from me,” says Michael. “They then took my material and synched it with what was coming off the cameras, on the spot. We would rotate CF cards throughout the course of the day.”
The majority of Non-Stop was shot on an airplane-based set for nearly 40 days. The multiple track count on the 788T proved worthwhile in this situation, as there were times when Michael not only needed these high-track counts, but felt at ease in knowing that if he needed more tracks, he could easily have access to them.
I’ve been doing this a long time, and have used a wide range of gear,” adds Michael. “I gravitated towards Sound Devices when it was time to upgrade my recorder because of its high-quality audio, portability and reliability. The fact that it is both made and serviced right here in the U.S. was a huge additional selling point for me.”
In addition to his feature work, Michael has also filmed in Africa on multiple occasions with Bill Clinton for an upcoming documentary on the former President’s global initiatives. “From the frigid cold of Iceland to the scorching heat of Africa, Sound Devices gear has been exposed to extreme weather and has consistently held up great,” concludes Michael. “The 788T is incredibly flexible and is now my recorder of choice for all my future projects.”
With the influx of multi-tracking both in the field and on set, the Sound Devices 788T has become the next-generation digital audio recorder of choice for advanced sound mixers that require additional isolated tracks. The 788T boasts eight full-featured inputs and records up to 12 tracks. It accepts either microphone or line-level signals, provides 48-V phantom power for condenser microphones, offers peak limiters for microphone inputs and features fully adjustable high-pass filters—all in one compact package. Routing flexibility allows each input to be routed to mix tracks, isolated tracks or aux tracks.
The 788T has several options for recording media, including an internal hard drive (SSD in the 788T-SSD), CompactFlash media with UDMA support and an external FireWire hard drive. Any or all of these can be used simultaneously. Additionally, when connected to Mac OS, or Windows computers with high-speed USB or FireWire 400/800, the 788T functions as a high-speed mass storage device.
To simplify interconnection with mixers and cameras with AES3 connectivity, the 788T has eight channels of balanced AES3 digital input and six channels of balanced AES3 output. The 788T can be clocked from an external word clock or from video sync. The 788T is also equipped with a high-accuracy time code reader/generator on board, and includes auto-record features to chase external rec-run video sources. To simplify metadata entry, the 788T directly accepts USB keyboards. Keyboard shortcuts can be programmed to control menu items and machine transport. The 788T, like all Sound Devices products, is versatile and designed to withstand the physical and environmental extremes of rigorous field production.
The CL-WiFi interface accessory adds remote iPhone, iPad and iPod Touch functionality to 788T and 788T-SSD Recorders. When the CL-WiFi hardware is used with the downloadable application from the Apple App Store, 788T users can remotely view, control and edit audio and file-related information from their Apple device using the CL-WiFi iOS app.
Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.
Major update to leading audio analysis suites is currently a Featured App and named a “Best New App” on the Mac App Store
Minneapolis – (May 16, 2014) – Audiofile, a leading music technology company, today announced a major update to Spectre, the popular real-time audio analysis suite for OS X. The new version, currently featured on the Mac App Store and named a “Best New App”, is available for 50% off the original price for a limited time.
Ideal for any audio professional working today—from producers to broadcast engineers to video editors—Spectre is packed with 20 different multi-channel and multi-trace meters including Level, VU, Spectrograph, Oscilloscope, Spectrogram, LU and LU History. With version 1.7, Spectre has been rewritten from the ground up to support the latest loudness standards as well as making it even more powerful and beautiful.
“Spectre has always been incredibly accurate,” said Matthew Foust, Audiofile Managing Partner and co-founder. “But the enhanced performance in version 1.7 makes your meters more detailed and responsive, providing an even clearer picture of your audio.”
Beyond its significant performance upgrade, Spectre’s updated meters are now even easier to configure. Additionally, they are now Retina-ready and fully optimized for OS X Mavericks, including improved full-screen and multiple display support.
New additions and enhancements to Spectre include:
• Greatly improved performance and stability
• Fully optimized for Retina displays
• Audio bundles enable the creation of groups of channels for audio input hardware, making configuration even easier
• Comprehensive full-screen support
• Meter configuration is now built into each meter
• Traces have their own spectral analysis settings
Spectre includes all of these improvements for it’s original low price, making it ideal for students and professionals alike. And, to celebrate its release, Audiofile is offering an introductory discount on Spectre for only $49.99, 50% off the original price for a limited time.
For more information about Spectre, visit http://www.audiofile-engineering.com/spectre/. To buy Spectre through the Mac App Store, visit https://itunes.apple.com/us/app/spectre/id436872608?mt=12.
Audiofile is a boutique technology company building apps that power the world’s musicians and audio engineers. Founded by Ev Olcott and Matthew Foust in 2006, Audiofile is among the most innovative and experienced audio software developers for Mac OS X and the iPhone with a long history of industry-firsts to their name.
Learn more about Audiofile’s entire range of music apps for Mac and iOS at www.audiofile-engineering.com, www.facebook.com/audiofileeng and on Twitter, @weareaudiofile.
Available now as part of the new Iris+8 bundle
iZotope Inc., Cambridge, MA – iZotope Inc., a leading audio technology company, has released the eighth sound library for Iris, an award-winning software synth built on spectral selection technology.
Designed for exclusive use with Iris, Resonant features a fresh palette of playable, acoustically inspired patches built around bell, glockenspiel, kalimba and vibraphone-like samples. Choose from more traditional musical instruments, or experiment with wild and unusual sounds based on cans, tubes and lampshades. Featuring metal, wood, plastic, and other pitched percussion sources, Resonant offers bright and clean sounds ready to fit right into your next session.
Resonant is available on its own or as part of the new Iris+8 bundle, featuring all eight sound libraries for Iris: Wood, Glass, Food, Toys, Voice, Modular, Altered, and now, Resonant.
Free Guide for Iris Updated
In support of Iris Resonant and Iris+8, iZotope has also expanded its Iris Cookbook to include brand new recipes with step-by-step instructions and example presets. Aimed at helping users get the most out of Iris, this guide offers pro tips and tricks to help you get that perfect sound.
Iris Pricing and availability
Iris Resonant is available now through May 29, 2014 for $29 USD (reg. $49).
Iris+8 is available now through May 29, 2014 for $249 USD (reg. $349).
About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.
For more information on iZotope products, please visit www.izotope.com.
Los Angeles, CA – May 2014…
** Photo: Didrik Johnck **
Location sound work—by its very nature—almost always poses a variety of technical challenges: be it RF agility in dense metropolitan areas or range and related issues in remote locations. Capturing clean, broadcast quality audio is never something to be taken for granted. Welcome to the world of travel documentaries. Regardless of the destination, quality audio performance is a key issue and, to ensure the best possible sound, the production team of White Nile Media, Inc. relies on Digital Hybrid Wireless® technology from Rio Rancho, NM-based Lectrosonics. more
Emerging UK artist Joel Compass has become the latest in a long line of singers to join the DPA Microphones’ fan club.
Compass, a 21 year old from South London who is rapidly making a name for himself as an up and coming R&B star, was switched on to DPA’s award-winning d:facto™ Vocal Microphone by his tour manager Mark Portlock and his engineer Liam Halpin.
“DPA microphones are renowned for their audio quality and very low noise floor, so I initially considered the d:facto Vocal Microphone for another artist I am working with who has a particularly quiet voice,” Portlock says. “However, once Liam and I demo-ed it we realised it would also work really well for Joel’s voice, which has a great dynamic range. We introduced him to the microphone and he absolutely loved it. He is now using d:facto for all his live vocal performances.”
Liam Halpin adds that DPA’s d:facto Vocal Microphone has made his life as an engineer much easier because he can use it with any professional wireless microphone system.
“DPA’s UK distributor Sound Network supplied us with an adapter that gives us seamless integration with all of the professional wireless systems we usually encounter,” Halpin says. “I am a big fan of Shure’s wireless system but that doesn’t preclude me from using other brands of microphone. There is a correct microphone for every situation and in Joel’s case, when it comes to live vocals, it’s the DPA d:facto. With this microphone all I need is an adapter, a capsule and a grill and I can walk into any venue and use any wireless system – I don’t have to take in my own. That saves us having to rent in a wireless system and allows us to use the right microphone for the artist and the performance space.”
Joel Compass has been making waves in the UK after getting an early buzz from media outlets such as MTV and Digital Spy. As well as performing his own material, Compass also writes for other artists and is making a name for himself as a producer – indeed his ballad, Run, was written with Rihanna in mind. His latest single Forgive Me is currently climbing the UK Top 50 and he has been making high profile appearances at the MTV Brand New awards, at London’s Red Bull Studios and live support shows with Rudimental and US star J Cole. He is also working on projects with established artists and his own debut album Science. A busy summer including live shows at Glastonbury and Wireless and secret garden festivals awaits.
Mark Portlock and Liam Halpin believe that introducing Compass to the d:facto has had a number of hidden benefits, not least helping him redefine his microphone technique.
“DPA’s d:facto Vocal Microphone seems to work best when artists use In Ear Monitors, because that’s when they can really hear the difference it makes to their voice,” Halpin says. “With Joel, we started out using wedges but this was a real pain because he would sing right off the mic, often with his hands covering parts of the grill. Eventually, when we switched to d:facto, we persuaded him to move to IEMs, which he now has in both ear. The change this made to his mic technique was dramatic. Suddenly he could hear his own voice properly and he got right on the microphone because he was enjoying the improved sound so much. It’s made a huge difference to his performance and to the consistency of his sound – in fact I would go so far as to say that this microphone has done more than anything else to get his live performance to where it is now.”
DPA’s d;facto Vocal Microphone now features on the equipment rider for every gig that Joel Compass does and as a result Portlock and Halpin’s favoured rental company, Encore, has invested in its own stock. The microphone is also proving popular with the studio and broadcast engineers the team have encountered during the filming of some of Joel Compass’ gigs.
“It’s really funny how their faces light up when you tell them your artist is using a DPA microphone,” Halpin laughs. “Studio and broadcast engineers are usually pretty disdainful about live mics but with this one they are more than happy. They know all about the audio quality of DPA so the d:facto gives us credibility.”
Portlock adds that the d:facto Vocal Microphone also gives Joel Compass credibility, especially among other artists who recognise that it is a significant investment. He gives DPA’s UK distributor Sound Network much of the credit for making it possible to move Compass onto a d:facto – and for supporting the team while they made the switch.
“The d:facto is not cheap and there is no way we would have committed a developing artist to such an expensive microphone if we hadn’t had fantastic distributor support,” he says. “The fact that Sound Network was able to lend us the d:facto Vocal Microphone in various forms so that we could try them all out – with cable bodies, adapters, different coloured grills etc – made a huge amount of difference. It gave us the confidence to go with the microphone and it also inspired our rental company to buy stock of its own so we now have access to mics that we can rent through them.”
To see Joel Compass in action at Transmitter Live using DPA’s d:facto Vocal Microphone, please follow this link: https://www.youtube.com/watch?v=F7stBS5lYtI
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com
Pro Audio Dealer Helps Sony Picture Studios Revamp Its Culver City Facilities
North Hollywood, CA (May 7, 2014) – Location Sound completed their largest Q1 sale to Sony Picture Studio’s Culver City, CA, which is undergoing a revamp of its production facility. Sony’s purchase of eight live sound consoles—five Soundcraft Vi4s, one Soundcraft Vi6, and two Yamaha CL5s— will be used for audience sound reinforcement as well as recording of production dialog.
Sony’s choice of Soundcraft Vi4 and Vi6 consoles carries forward some continuity as the company had employed earlier analog models of Soundcraft Series FIVE consoles. Aside from the consoles’ smaller footprint and extensive modern features, upgrading to the latest digital models allows them to tap into the extensive fiber optic and Dante network that is instlled between stages and studios in the complex.
Val Asuncion, Location Sound’s Assistant Sales Manager, has been working with the Sony revamp project since November 2013. “The consoles are part of Sony’s production sound packages that are rented for various shows produced on the Sony lot, as well as other lots around Southern California. Since they were familiar with the sound and ergonomics of Soundcraft consoles, the Vi Series seemed a perfect fit”, Val said. Soundcraft’s Tom Der points out the long-standing relationship Location Sound has with Sony “made them the natural go-to vendor” for the deal.
Sony also had specific integration requirements for the Yamaha consoles used on the stage where Jeopardy and Wheel of Fortune were taped. For this reason, Jonathan Peirson, Yamaha’s District Manager, brought in twoYamaha CL5s and Rio stageboxes, a system that offered the best solution for integrating with the existing infrastructure. Since the consoles will be used in portable applications on stages with frequent changes, its ease of use, size, and features—such as scene memory and networking capabilities—played heavily into the buying decision.
“Location Sound has been on the forefront of showing products that work on a Dante network. And having recently become a Yamaha CL dealer, we partnered with them to show these capabilities on the consoles. It turned out to be perfect timing as Sony was looking to upgrade to consoles that would support a Dante network”, said Peirson.
David A. Panfili, Location Sound’s CEO says “Sony’s complex system integration requirements also serve to reinforce our commitment to aligning ourselves with technologies that advance and enhance our clients’ sound recording capabilities.”
About Location Sound Corporation
Location Sound opened its doors in January of 1977 with a mission to be the one-stop facility for production sound mixers for all their sales, rental, and equipment service needs. More than 37 years later, the client roster now also includes production companies, broadcast companies, law enforcement and private security firms, universities, houses of worship, government agencies, and more. Location Sound is known for its excellent customer service and unparalleled depth of inventory: No matter the industry, Location Sound remains committed to providing sound professionals the equipment they need for their critical recording needs, while delivering unmatched support services before and after the sale.
The Famous Roar of the Beast Get’s a Supersonic Boost
Pictured in their studio at Warner Bros. are sound designers (L-R) Ethan Van der Ryn holding the Sanken CO-100K microphone and Erik Aadahl. On the monitor, Aadahl is seen holding the mic on the deck of the USS Ronald Reagan. Photo by David Goggin.
Erik Aadahl and Ethan Van der Ryn, the e2 sound design team for the “Godzilla” reboot, have employed the revolutionary Sanken CO-100K microphone to create the new roar of the beast and a bizarre array of otherworldly sounds. Van der Ryn and Aadahl are responsible for the sound design and sound editing of the “Transformers” and “Kung Fu Panda” films. Other credits include the “Lord of the Ring” series and “The Tree of Life.” Together they have garnered seven Oscar nominations and two wins.
“The Sanken microphone is a window into a whole invisible world of frequencies that are beyond our human capacity of hearing,” explained Erik Aadahl. “The mic captures an incredible world of sound that we can then bring into our software, slow it down, pulling all of those high frequencies into the audible realm.”
The new 2014 “Godzilla” features the Japanese film monster of the same name in a reboot of the film franchise, retelling the origin of the beast in contemporary times as a “terrifying force of nature” in a style faithful to the Toho series of “Godzilla” films. The film is directed by British filmmaker Gareth Edwards, written by Max Borenstein and stars Aaron Taylor-Johnson, Bryan Cranston, Ken Watanabe, Elizabeth Olsen, Juliette Binoche, David Strathairn and Sally Hawkins.
“Godzilla’s original roar from the 1954 Toho film was created using a double bass and a leather glove with pine tar rosin to create friction,” explained Aadahl. “Using the Sanken 100K mic, we recorded the friction of a glove going across the strings to reproduce that iconic Godzilla roar, probably the most famous sound effect in cinema history. The Sanken was one pretty incredible tool for being able to create sounds that one could never hear.”
With a 20Hz – 100kHz range, the Sanken CO-100K omni-directional condenser microphone is the world’s first 100kHz microphone designed specifically for professional recording, not test purposes. The information contained above the standard frequency range can be captured and reproduced using sample rate and pitch techniques familiar to industry professionals. Numerous everyday sounds were transformed by e2. “Dry ice was a big player for us,” explains Aadahl. We used a big block of dry ice, resonating against a six foot cylinder of metal ventilation tubing.”
Aadahl and Van der Ryn also recorded sounds on the deck of the USS Ronald Reagan aircraft carrier. “That was an incredible experience,” recalls Aadahl. “Just living a few days on an aircraft carrier informs you so much about what life is like on a ship, what the real world sounds are.”
Van der Ryn adds, “Key to our philosophy is recording new sounds to design with. Using this palate of fresh ingredients, we strive to make a wholly unique and expressive sonic story-telling experience. The only way you can accomplish that is to truly keep your ears open.”
“Godzilla” is a co-production of Legendary Pictures and Warner Bros. Pictures and will be distributed by Warner Bros. Pictures worldwide, except for Japan where it will be distributed by Toho. The film is scheduled to be released on May 16, 2014 in 2D and 3D.
Learn more about e2 Sound:
To learn more about Sanken microphones, visit:
SALT LAKE CITY, Utah – Stephen Lotwis is one of Hollywood’s busiest music editors, helping filmmakers and directors choose exactly the right music or song the film. His credits include more than 40 major movies and he currently works at Warner Brother’s 2 POP Music, a full service music editorial company. Lotwis takes care of the technical aspects of the soundtrack, documents and manages all related activities, supervises the recording of the original music and oversees the mixing and dubbing sessions where the music, dialog and sound effects all come together to create the finished movie soundtrack. Every music cue has to be exactly right. In particular, the quality of the reverb can make or break the sonic ambience of a scene – which is why Lotwis relies on HARMAN’s Lexicon PCM Native Reverb Plug-In Bundle to help set the sonic mood.
Lotwis has been using Lexicon since 1984 and first started working with classic Lexicon products like the PCM 60, PCM 70, 224XL, 480L, LXP-1 and LXP-5 when studying at the Berklee College of Music. After graduation, Lotwis performed as a professional musician, started his own production studio, produced independent records for Boston-area artists and taught music at Harvard University – all the while gaining experience with Lexicon up to his current use of the PCM Native Reverb Plug-In Bundle. When it came time to go Hollywood, Lexicon followed.
“I like the dense, rich texture of the Lexicon reverbs; they’re just so natural and realistic,” said Lotwis. “In particular, the decay of the reverb tails are flawless, and you can adjust the length of the decay to be exactly what you need when you set the scene, from a short, almost gated clip to that beautiful, lush kind of reverb tail that seems to extend forever.”
Lotwis knows that in filmmaking, the image is only half the story. The soundtrack is an equal part of creating an immersive moviegoing experience, whether it’s a whisper of dialogue, a subtle musical background or a wall-shaking action sequence. In today’s workstation-centric production environment, Lotwis finds that the PCM Native Reverb gives him not only the flavor of reverb to complement any type of music, dialog or effects – from Plate, Vintage Plate and Chamber to Hall, Room Random Hall and Concert Hall – but the ability to precisely dial in and tweak any sonic parameter, save any setting and recall it for later use. “In a fast-paced production environment where we have to constantly change cues and timings and sometimes have to make hundreds of revisions, the ability to recall any setting instantaneously is a major advantage compared to the way I had to work even a few years ago.”
“If you want to hear how good the PCM Native Reverb sounds, just listen to one of my recent or not-so-recent film projects,” he notes. “I’ve been using it for a few years now and wouldn’t think of doing a soundtrack without it.” It seems that filmmakers, directors and others would agree.
“Stephen’s reputation precedes him as one of the leading feature film music editors in Hollywood. While his work has taken him from recording to film and east coast to west coast he has developed as a professional with Lexicon as a constant throughout his career,” stated Jason Kunz, Market Manager, Portable PA and Recording & Broadcast for HARMAN Signal Processing.
HARMAN (www.harman.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.
MicroMain27s Complement His Vintage Gear
Pictured in his Your Place or Mine studio is producer/engineer Mark Linett with his Barefoot Sound MM27 monitors. Photo by David Goggin.
Top producer/engineer Mark Linett has upgraded his MicroMain27 monitors to the latest Gen2 models. The monitors are in place at “Your Place or Mine,” his private studio in LA, which features a customized API 2488 console with Flying Faders, and two original Universal Audio tube consoles, as well as an extensive mic and outboard gear collection. All tape formats from mono to 24 track are available along with a Pro Tools 32×32 TDM system.
“I’m on the Gen2s, but I’ve had the MM27s pretty much since their introduction,” Linett explains.” I really liked my previous monitors, but there was always something in the bottom end between the bass and the kick that was always tricky to get right the first time. You’d do a mix, take it somewhere else, and realize, ‘The balance ins’t quite right, I’ll have to come back and do it again.’ Tedi Sarafian at Barefoot convinced me to try their speakers, and I don’t try a lot of this kind of stuff.”
Linett is a three time Grammy-winning engineer and producer whose early career was spent mixing live sound for Frank Zappa, Earth Wind and Fire, Journey and Rufus, among others. Later, as a staff engineer at Warner Records Amigo Studios, he engineered albums for a wide range of artists including Randy Newman, Los Lobos, Jane’s Addiction and Rickie Lee Jones.
“My feeling has always been it’s kind of dangerous to change your monitors,” he continues. “Right or wrong, you get used to what you’re working on. If you’re good at it you can get used to anything. But I tried the Barefoots and I really liked them. I did a bunch of quick mixes, and it was so easy to get the balance right, they sounded good elsewhere, and then Tedi told me that they were the demo pair and that I was going to have to wait four weeks, five weeks to get my real pair. They took them away and I put my previous monitors back up, and suddenly I could tell exactly what had been the problem, that the mid range was pushed and that the bottom end was a little funny. It was great when the real pair arrived.”
When Amigo Studios closed in 1983, Linett built his own studio/ remote recording system and worked with Laura Nyro, Dave Alvin, and Kris Kristofferson, among others. A chance phone call in 1987 landed Linett in the engineer chair for Brian Wilson’s first solo album and began a 25 plus year relationship which continues to this day. Along the way Mark has mixed the Beach Boys Pet Sounds in both stereo and surround and was nominated for the best engineering Grammy in 2004 for “Brian Wilson Presents Smile.”
“I guess it’s been a little less than a year since the Barefoot Gen2s came along,” Linett says. “I really like them, an improvement, and although I don’t use it a whole lot, the digital modeling of other speaker types is really nice just to reference something for a few minutes after you think you’ve got it right.”
In late 2008, Linett started a new company, Music Mix Mobile West (M3West), which owns a 40-foot remote music truck that has recorded numerous shows in the past five years, including the Grammys, the CMAs and the I Heart Music Festival, and artists including Arcade Fire, Coldplay, Steve Martin and Queens of the Stone Age. The M3West truck features dual 192 track recorders, Avid D-Control console and 128 channels of remote controlled Aphex 1788 mic preamps.
“In theory, you just want monitors that are accurate,” Linett concludes. “You don’t want something that’s a huge hype. Most home speakers have a smile curve, the bottom end and the top end tend to be boosted loudness. It’s nice to listen to what the consumer is going to listen to, but in terms of a studio environment, you want something that’s quite a bit more accurate, especially the imaging, that where the placements are is accurate.
“Also, while there’s always a sweet spot more or less in the center, you don’t want it so restricted that you have to really concentrate to figure out where the sound field is being represented. For me, the thing about the Barefoots has always been that whatever I do in here, whether it’s quick or I spend a lot of time, I hear little things that I want to change, but it’s never big, major changes in the frequency response, which was always the problem with other speakers.”
Learn more about the Barefoot Sound MicroMain 27 monitors at : http://vintageking.com/barefoot-sound-micromain-27-gen2-pair
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
JAKARTA, Indonesia – HARMAN Professional today announced that Indonesian cinema exhibitor Cinemaxx has partnered with HARMAN to equip more than 300 new screens with JBL Professional ScreenArray® loudspeakers, powered by Crown amplifiers, over the next 12 months. In the years ahead, Cinemaxx may outfit up to 1,000 screens throughout Indonesia with JBL and Crown.
Cinemaxx is a new cinema exhibitor that is planning 150 locations across 77 cities. The HARMAN systems at these theaters will feature JBL cinema systems, powered with Crown DCi amplifiers. In addition, up to 100 screens will feature Dolby® Atmos™ cinema audio technology.
“Our goal is to provide the best possible cinema experience to moviegoers in Indonesia,” said Brian Riady, CEO, Cinemaxx. “With HARMAN as our technology partner, we are confident that we will amaze moviegoers throughout Indonesia and keep them coming back to Cinemaxx theaters!”
“Cinemaxx is dedicated to providing its customers with the most cutting-edge and immersive cinema experience available, as evidenced by its commitment to outfit up to 1,000 screens with JBL and Crown,” said Thomas Marcher, Director of Sales, Asia & Pacific, HARMAN Professional.
Cinemaxx is poised to be one of Indonesia’s largest and most preferred motion picture exhibitors with more than 1,000 screens and 150 locations planned across 77 cities. Combining state-of-the-art technology with first-class amenities, Cinemaxx will provide an unparalleled entertainment experience to moviegoers across the nation. MegaMaxx, the giant-screen format of Cinemaxx, is designed to take the Indonesian cinematic experience to the next level by providing moviegoers with an immersive audiovisual experience. Patrons can also experience the epitome of luxury at Cinemaxx Gold, Cinemaxx’s VIP offering, replete with lavish recliner chairs and gourmet F&B offerings served by attendants on call. Cinemaxx is affiliated with the Lippo Group, one of Indonesia’s largest private services providers. For more information, please visit www.cinemaxxtheater.com or send an email to firstname.lastname@example.org.
HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.
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