Sonic Fuel

Oct 1, 2012 9:00 AM, Mix, By Matt Hurwitz



Education Guide

Mix is gearing up to present its longstanding annual Audio Education Guide in its November 2014 issue. Want to have your school listed in the directory, or do you need to update your current directory listing? Add an image, program description, or a logo to your listing! Get your school in the Mix Education Guide 2014.

The live room can hold 30-40 musicians.

The live room can hold 30-40 musicians.

The team opted for a used Avid System 5 recording console, reconditioned by the company to include the latest operational system. “We looked at buying an old Neve or SSL, but the heat and power issues associated with those were prohibitive,” Lennertz explains. “Plus, we’re not making records. We’re doing film scores that are sometimes 64 tracks wide with multiple stems, so the Euphonix was the best fit.”

The team records to a Pro Tools 10 HDX rig, using Euphonix MADI A/D converters, as well as a Euphonix 727 format converter. The studio’s collection of microphones, including Neumanns, Sennheisers, Josephsons and Coles, are fed through a range of high-quality preamps—Avid’s own, as well as units from Grace, Millennia and Neve—to produce as warm an orchestral recording as possible. “We wanted to make sure we have a mic closet and rack of gear that other mixers and composers are used to using and will feel comfortable with when recording here,” says Lennertz.

While not yet fully implemented, the composing rooms (six upstairs, three downstairs) will eventually be connected via tielines to one of the studio’s two iso booths, which will operate at times as a secondary control room. “You’ll be able to record to any room in the building, recording from any of the live spaces downstairs,” Vaughn explains. “We’ll be able to be mixing in the control room while recording’s going on on the other side of the glass.”

Besides the expansive new recording and control room capabilities of his new studio, Lennertz is already enjoying the camaraderie of additional artists to bounce things off of or get advice, if desired. “Everybody thinks composers like to be sequestered and alone, and that’s not the case,” he concludes. “It’s really nice, after working for three or four hours, to open your door, get a cup of coffee, and be able to play a piece for someone and get a reaction. It’s a nice change.”

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