DMT Rentals Offers Super Pro Tool|HD System for 'Radio' Score

Jul 30, 2003 12:00 PM, Editors

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Leading music scoring mixer Simon Rhodes (A Beautiful Mind, The Mask of Zorro, the Harry Potter film, Angela's Ashes) once again turned to DMT Rentals for the high-precision recording systems used to capture James Horner's lilting musical score for Revolution Pictures' Radio, starring Cuba Gooding Jr. and Ed Harris. Rhodes specified several Pro Tools digital audio workstations—including a custom-designed DMT Super Pro Tools|HD System—while working at Todd Scoring, Studio City, Calif.

Pictured: Simon Rhodes at Todd Scoring Stage, Studio City, Calif>, during Radio mixing sessions. DMT Rental's president Doug Botnick (left) during Radio scoring sessions.

The DMT Super Pro Tools|HD System comprises a combination of eight channels of Pacific Microsonics Model Two AD/DA converters working at 192 kHz and 40 channels of Genex Audio GXA8 A/D converters running at 96 kHz, with 40 channels of DMT-customized dB Technologies "Blue" M.DA824 24/44-96 units for D/A conversion. "We also used [DMT-customized] Prism ADA-8 8-channel, 24/96 A/D converters on the main 6-track surround mix," said Rhodes.

The DMT Super Pro Tools|HD System captured a 100-piece orchestra and vocals from India Irea, a second 64-track/96kHz system replayed various synthesizer overdubs and related elements, while a third recorded the main 5.1-mix bus outputs that will be delivered to the dubbing stage. "I was very impressed with the sonic performance of DMT's Super Pro Tools|HD System," Rhodes said. "Digital has come of age at last with the advent of this system. In terms of outstanding audio quality and technical advances, DMT has really taken command of the high ground. The company is continually pushing the standard formats to make them fully accessible to the scoring industry."

"Our custom-developed Super Pro Tools|HD System," said DMT Rentals president Doug Botnick, " bypasses the normal Digidesign converters, operates at mixed sampling frequencies and combines all system components in a fully integrated rack-unit."

To record the score, Rhodes used a conventional Decca Tree array of his five favorite Neumann M50 microphones as his main orchestral pickup, plus two AKG C 12s as string outriggers, two [B&K/DPA] 4006s as dedicated surrounds and a Neumann KM130 as a dedicated "boom" mic, plus omnis on woodwind and cardioids on the other instruments. Various Messenger, Millennia and Avalon mic preamplifiers are featured in Rhodes's equipment array.

Normally based at Abbey Road Studios in England, the Radio score was the first session in the United States during which Rhodes tracked an orchestra to digital, using Digidesign Pro Tools and iZ Technology RADAR 24 hard disk as backup. "While I have used various digital systems in England, this is the first time I have been exposed to DMT's high-tech systems. The company is really pushing out the boundaries of quality for scoring mixers and providing us with highly accessible tools."

For more, visit DMT Rentals on the Web at www.dmtrentals.com.






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