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Film Score Mixer/Record Producer Chooses ATC

Hollywood, CA (May 20, 2004)--Scoring mixer/record producer Steve Kempster has been on a quest to find a great mid-field monitor system that would sound great for his film scoring dates, his commercial sessions and also for his record production work. After many auditions, trials and extensive consultations with a number of manufacturers, he purchased an LCR set of ATC SCM100ASL Pro and an SCM0.1/15 Pro subwoofer.

Hollywood, CA (May 20, 2004)–Scoring mixer/record producer Steve Kempster has been on a quest to find a great mid-field monitor system that would sound great for his film scoring dates, his commercial sessions and also for his record production work. After many auditions, trials and extensive consultations with a number of manufacturers, he purchased an LCR set of ATC SCM100ASL Pro and an SCM0.1/15 Pro subwoofer.

Kempster explained: “For my work I’m a studio on wheels. My racks of gear and I are in a different room from project to project. My dream was a system that could handle a lot of gain with loads of headroom and could still survive the abuse loudspeakers take during a tracking date. I needed something that was tough and great sounding. The design and idea behind the ATCs is that they are the gold standard. I can depend on them in any situation.”

The proof is in the pudding goes the adage, and Kempster continued, “I produced the band Sky Farm, mixed three films and a number of commercials all on the ATCs and everything has translated beautifully. So my confidence level is extremely high! With the 100s I find the imaging is breathtaking. The soundfield is so defined and exactly the way it is on the sound stage. I also find the ‘sweet spot’ is wide both vertically and horizontally making it great for my clients and artists to also enjoy the sound equally over a fairly wide area. These speakers somehow maintain the same relationship between low, mid and high frequencies at all volumes better than any speaker I’ve worked on. If I was mixing a record, the vocal sound, characteristic and position in the mix stays exactly the same–dead on from quiet to earthshaking room volumes.”

Another big consideration is the transition from film work to record work. There is a big jump for monitoring because most film score mixing is done through the X Curve–a deliberate roll-off of high frequencies (in the monitor path) to simulate the speaker playback systems in movie theatres. Kempster said, “What ATC is doing now is developing and building multi-stage X Curve filters for my 100s. Being able to accommodate this change for me, and build a filter to the high standards of ATC, was a significant reason for me to go with them.”

ATC is distributed in the U.S. by the Transamerica Audio Group.

Transamerica Audio Group
www.transaudiogroup.com

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