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DigiZine
19/03/2013 06:48
Massenburg. It is not an inexpensive room to work in, so to make it worthwhile, the artist has to set up quickly, get comfortable, go to work, and then move on. Our goal is to keep the room busy by optimizing the available resources for the immediate requirements of a project. ICONs biggest strength, to me, is the ability for a mix to start with a standard Pro Tools template and continue through the natural progression of building a multi-track song, Massenburg explains. Lets take a hypothetical project that might begin in this room. First, you do a track. Maybe its a live track and you use this room as a control room. Then you take the live track and edit it offline. We have a fiber-based server with access from all the studios. You have taken your track into a small edit or offline room, a small production room where you have a smaller Pro Tools system and maybe a small worksurface. You plug into the server and you work on your track and edit it, spending hours or days getting the editing together. Next you want to add an instrument, so you wheel in an analog rack that has the same gear that you used when you cut the track. You have a little booth and you drop in a vocal for a fix. Somewhere along the way you go back to Studio C, the big room, to see how youre doing, how your space works out. You are right on the network, so you bring it right up. You dont need three hours to prep a session. It takes five minutes. Does Massenburg use analog tape anymore? No, but in the box is now thought of as excluding analog inserts, which I use whenever needed. One of the benefits of having so much great analog gear here at Blackbird, he continues, is that we can deploy a rack that goes with the session, rather than a fixed bay of gear at the back of the room, 90 percent of which you never use. You have a designated rack of gear that plugs into a known slot in your Pro Tools system and your work proceeds. And you are listening to it in seconds instead of spending hours trying to get used to the sound, and sending out for lunch, and playing pinball, and trying to find some comfort in the room and wasting a lot of time. This is a very fast room to get comfortable in. That is the key. If you decide you need to do more work, you can move into another studio. Maybe its a $200-a-day space instead of a $1,500- or $2,500-a-day space. You move between studios, optimizing your space and your gear for the job at hand. This type of workflow with Pro Tools optimizes the various levels of resources at your disposal. Would this way of modern incremental record making be impossible in the analog days of yore? Yes, I think it would be impossible in the old days, or certainly very impractical, says Massenburg. First, there is the problem of getting used to a new space, where you put up a mix and it doesnt sound as good as when you cut it. The reason that people stayed with one studio was largely because familiar technology was there: same console, same EQ, same inputs, maybe a recall board. They got used to a space and achieved a certain comfort level. A lot of that has to do with the anomalies in a room and monitoring. You want to reduce those anomaliesand that is exactly what happens in this room. As a result, it sounds better when you take it out to another room you walk away with something that is more consistent. Also, you quickly get used to what you have after walking in to a new room. Its funny, when Chuck Ainlay brought some of his recordings over, he was worried that my stuff would sound great and his stuff would suck. But everybodys work sounds good. Good stuff sounds good. Of course, crappy stuff still sounds crappy, but accurately so. The Massenburg DesignWorks Parametric EQ
George Massenburg has been responsible for engineering some of the most respected recordings of the modern era, as well as creating that mainstay of the recording process, the parametric equalizer. He has manufactured unique designs for compressors, consoles, moving fader automation systems, microphone preamps, and noise reduction systems. And hes applied this formidable know-how to his EQ plug-in. Nobody took 48-bit seriously until we did our parametric EQ plug-in, Massenburg modestly states. When we were invited by Digidesign to look at the emerging HD system and comment on it and build an equalizer for Pro Tools, we decided it was a real opportunity to do it in extended resolution, to do it in 48-bit. This is because we knew that internal to the equalizer, a lot of the nodes needed extended resolution. Even though some folks would say that 16 bits are enough for anybody in any situation, we know that is not true. Now we know that you need extended resolution on the front end and in processing to really comfortably fit a competent audio presentation. Well, thats just your main signal. You put it into an equalizer, and all kinds of points inside have vastly different ranges. You can have a point in the equalizer thats way down in level, and you need wide resolution to make that work right. We built a 48-bit EQ and deployed it in HD, and it really made Pro Tools reach impressive new levels in professional sound. And with our new IsoPeak feature, you can more quickly target a specific frequency artifact to surgically operate on it in one simple step, rather than searching and sweeping, adjusting a level, and sharpening a peak. All in all, we are continually looking for ways in which to work faster and more efficiently so that you end up with a great recording that you can be proud of.
Mixing in the box has taken the biggest hit because of the perception that if you are working in the box, then by its very nature, you are technically limited. The idea is that digital mixing is flawed. In the box has been thought to mean actual digital mixing. You will see people use Pro Tools as a tape recorder, then break it out and bring it into an analog console. The defense is that in-the-box mixing is in itself flawed. I dont think thats true. I think the reason for this misconception is the lack of talent making informed, intelligent, artistic decisions when mixing, rather than the idea of the mix being truncated. Unfortunately, historically, digital mixing was flawed before we had high-resolution 48-bit mixing. But now, digital mixing can be very high resolution. Massenburgs progressive workflow, and his legacy of acoustics and studio design, advances with the completion of his newest and most revolutionary design to date, Blackbirds Studio C in Nashville. In short, the name George Massenburg is synonymous with the state of the art in audio recording.
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