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NUENDO HOUSTON NUENDO 9652 AUDIO CARDS APOGEE AD16 & DA16 UNIVERSAL AUDIO UAD-1 CARD ROSENDAHL NANOSYNC WORDCLOCK DYNAUDIO ACOUSTICS BM15A's DEMETER API FOCUSRITE EARTHWORKS SCHOEPS MILAB NTI EQ LOCATION RECORDING & MIXING 30 YEARS EXPERIENCE ENGINEERING PRODUCING ORCHESTRAL SOUNDTRACKS |
When you record or mix in an environment where you feel most comfortable, the end result usually reflects your best efforts. This is what I strive to provide for every session and project. My mobile recording system provides the highest quality digital audio wherever you want to work. 24 tracks "IN RECORD" constantly for hours on end without a crash, twitch, glitch, crackle, or click. Mixing capabilities of well over 100 tracks. This system easily interfaces with any studio. Or it can provide you with the best recording technology at any location to record, overdub, or mix. Whether you want to record your instrument and/or voice in your own home, or need to record an orchestral soundtrack for film or television "on location" locked to SMPTE and picture, my system is designed to surpass your needs.
My mic pre-amps connect directly to the Apogee/Nuendo inputs, bypassing any other stages of amplification. This allows the cleanest, punchiest, most dynamic audio possible. When you route a signal through a recording console, it passes through multiple gain stages and amp sections, and the sound quality suffers.
For monitors, I selected the DYNAUDIO ACOUSTICS BM15A's. This accurate nearfield monitor system offers exceptionally high performance. It's extended bass response and extremely smooth high frequency reproduction makes it an ideal near/midfield monitor for any recording system. It provides exceptional detail and stereo sound field definition, and is comfortable to listen to for long periods of time. You'll find this monitoring system in many mastering studios. For alternative listening, I use a pair of Auratone 5Cs.
A Rosendahl Nanosyncs generates word clock for the entire system. This results in superior system stability, outstanding digital audio quality, and improved stereo imaging. It enables interfacing with other audio and video systems for locking to picture for soundtrack work (NTSC or PAL.) It stabilizes locking to analog SMPTE LTC systems for bouncing existing tracks into Nuendo for additional overdubs, editing, and mixing.
All musicians use Sony MDR-V6 headphones while recording. They sound great and are very light-weight so they can be worn comfortably for long periods of time. And they can be VERY LOUD if needed.
It sets up in about 1 hour, and is protected by an APC 1000-Watt Uninterruptable Power Supply, so all recordings/data can be saved in the event of any power problems. The microphones and headphones require additional time, and this depends on how many need to be set up. With proper prior planning, an extremely comfortable and rewarding recording/mixing experience can happen. |
I use Nuendo by Steinberg. This multi-track audio
recording/editing/mixing software program is comprable to
Digidesign's "Pro Tools." Nuendo is used by The Dixie
Chicks, The New York Philharmonic, by U2 to
record every show on their Vertigo tour,
and many other major label acts. I switched to Nuendo
after using "PT" for several years because Nuendo
SOUNDS better and WORKS faster. Almost all TDM "plug-in's"
are available in the VST format for Nuendo. The recording,
editing and mixing capabilities along with the standard audio
manipulations (pitch shift, time stretch, editing, looping, fades, crossfades,
etc.) are equivilant in both programs. It works with 96kHz/24 bit
files with over 100 tracks available for mixdown. But the basic
operation of the program and manipulation of the audio files is
significantly faster in Nuendo. There is nothing I dislike more
than having a session grind to a halt while I deal with software
routing, picture size on the screen, turning various windows
on and off, and just doing a lot of keyboard tapping instead of
concentrating on the music. Nuendo "works" much
faster than "PT," so I can focus on performance,
music, and creativity. To hear some recordings I have done using
my Nuendo system, check out my
I HATE "MOUSE" RECORDING/MIXING - it slows down the
creative process (and increases the client's bill.) That's why I
have Steinberg's HOUSTON remote console. Almost
all of the functions in Nuendo can be accessed and operated from
HOUSTON, which makes the system work faster. Motorized
faders and knobs can be assigned to various channels
or functions instantly. With HOUSTON, my system
works comparably as fast as a large console, and demonstrates why
"mouse mixing" is such a waste of time and energy.
My rack mount computer is a custom built PC, using
only components that are ideal for digital audio recording.
A "Pentium 4" CPU, DDR RAM, 2
Nuendo 9652 audio cards, Seagate hard drives, Plextor CD burner, all rack mounted,
very stable, and very mobile. All interface cables (keyboard, mouse, DUAL
flat panel monitors, USB, etc.) are 50 feet long, so the computer rack
(and it's fans) can be positioned in a separate room preventing
any extra noise from being added to the actual listening area.
ATA-EIDE hard drives are easily swapped using a Storcase
(Kingston) Data Express system. I can also connect to external hard
drives through USB 2.0 and Firewire/IEEE 1394 .
I use a Universal Audio UAD-1 Powered Plug-ins card. It's dedicated
high-speed CPU/DSP hardware handles all of it's own plug-in processing. This
results in internal effects with amazing reality, warmth and complexity, while
no additional burden is placed on a computer's host processor. Included
are the NEW FAIRCHILD 670 Compressor, Dreamverb, the CAMBRIDGE EQ, the
Teletronix LA-2A, the UREI 1176LN, the PULTEC tube equalizer, RealVerb Pro and others,
with regular additions and updates. Current Software Version 4.90 (Jan. 2008)
