Hollywood (June 28, 2004)–Post-production facility SoundStorm has opened a new mixing stage, Cloud 9. In keeping with the strategy to give SoundStorm’s Burbank facility and its new stage the maximum level of productivity, sonic resources, and technical support, the mix stage was equipped with two dbx Quantum II compressors, two dbx 160SL dual/mono stereo compressor/limiters, and a dbx 786 Mic Pre unit. In addition to their advanced capabilities, these systems have the advantage of all being provided by a single source.
“This assortment of equipment represents a change in the original equipment design we had for the new mixing stage,” noted Carl Ware, chief audio engineer at SoundStorm. “Initially, we had equipment from a variety of manufacturers, including JBL monitoring, which ended up being our monitors of choice, but in speaking with the people from JBL, we were made aware of the fact that their sister company, dbx, has within it many of the resources we needed for the new stage’s requirements. It was clear that sourcing equipment such as compressors and mic pre’s from a single provider made tremendous sense from the perspective of systems integration, technical support, and creative design input.”
The dbx 160SL dual/mono stereo compressor/limiters were initially placed into racks in other SoundStorm studios. However, remarked Ware, when the company’s mixers had a chance to test the 160SL out, they immediately asked that the units be assigned to the new Cloud 9 mixing stage. “They were completely won over,” he commented.
SoundStorm’s mixers, including Michael Olman and Ken Kobett, have been nominated several times for Emmy Awards and other top industry honors for their work on hit television series such as 24 and Threat Matrix. Olman, who is the Lead Mixer on Fox’s 24, voiced his opinion on the dbx 160SL: “The 160SL is the most seamless, transparent compressor/peak limiter I have heard. I know that I can sonically run into it ‘head-on’ and its output will remain rock-solid without any negative affect on the dialog track. It is hands-down the most trusted, reliable, and flawless piece of gear in my dialog rack.”
Ware himself has had the chance to test-drive the dbx 786 mic pre on several voice-over sessions. “It really comes through clean. As long as the microphone can take it, the 786 can handle it. We’re looking forward to using it on ADR sessions where an extremely clear and accurate signal is critical. In fact, we’re looking forward to using all of the dbx equipment on sessions,” Ware concluded.