WWE Relies on Summit Gear

Jun 20, 2003 12:00 PM, Editors


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With numerous weekly programs such as Velocity, RAW and Smackdown!, and countless DVDs, home videos and Pay-Per-View events, World Wrestling Entertainment (WWE) is responsible for processing a heavy audio/video workload that is intense and deadline-driven. Having sweetened and polished the audio for various WWE programs, video games and home video/DVDs, audio post engineer Tim Roche has been working with Summit Audio’s DCL-200 compressor/limiter and MPE-200 preamp/EQ.

"We have such a high turnaround here that anything that will save me five minutes is a plus," said Roche, who recently completed the WWE home video/DVDs Divas Desert Heat and Rey Mysterio Jr.. "Working at WWE, audio is always a challenge because the shoot could be in an arena or walking down the street with The Rock. Or worse, the air-conditioning duct at the arena. So I’m always challenged with EQ and compression and the Summit Audio equipment, I can’t rave enough about it.

"The MPE-200 is a great box and helps me a great deal," Roche continued. "I go through and spend a few minutes individually with the talent, so I know this guy is preset one, this guy is preset two. If I have a guy who is a screamer and another who has more bass in his voice, I don’t lose time adjusting my settings because I can just dial it up instantly. Also, I really like the MPE-200 because the unit is totally sweepable and I can go in there and just tweak it. Mostly I use it for voice-overs."

Roche is a self-proclaimed analog "throwback" who desires the warmth of the older tube compressors. The ability of Summit Audio’s DCL-200 to emulate these vintage units while subtly applying compression made Roche’s gear selection an easy one. "I love the way the DCL-200 sounds when you drive it really hard. I’m a big fan of compression and this unit comes across so warm and smooth. Another aspect of Summit Audio gear that I like, specifically the DCL-200, is that I can never hear it breathing, which is ideal."

For increased flexibility, Roche also uses a function on his Euphonix console that locks his faders in place, so that even if he accidentally slides one up or down, the console returns them to their original preset position. This feature helps to alleviate another potential time-consumer: patching.

For more, visit www.summitaudio.com.

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