PLAYA VISTA, CA—Modern advertising agency 72andSunny has just completed new audio and post production facilities at its historic Hughes Campus location in the Los Angeles tech and creative hub dubbed Silicon Beach. The facilities, which include two 7.2-capable audio mix rooms, a pair of voiceover booths and a dozen 4K video edit bays, were designed and built by L.A.-based MW Audio Visual.
Michael Warren, president of MW Audio Visual, previously built facilities for TBWA\Media Arts Lab, an Apple-focused advertising partnership. “That’s how I got the gig; 72andSunny wanted the guy who did it for Apple,” explains Warren, whose career trajectory has taken him from Guitar Center and Sam Ash to his own pro audio-visual solutions company servicing high-end clients.
This latest expansion by 72and-Sunny, a fast-growing agency, is in line with industry trends. Warren observes, “72andSunny is getting stuff done faster and it’s getting much bigger projects and clientele. That seems the way most of the media companies are going right now.”
The agency’s 58,000-square-foot facility at the Hercules Campus occupies several buildings that once housed the offices of filmmaker and aviation mogul Howard Hughes and his legendary “Spruce Goose” aircraft.
On the audio post production side, the main focus is a cinema mix room. Studio A is outfitted with three JBL 4722 ScreenArray speakers and a pair of JBL 4641 single-18-inch subs behind a custom Draper perforated, edgeless screen that appears to float away from the wall. The speakers are powered by Crown digital amplifiers under the control of BSS BLU-enabled processing. The smaller Studio B offers nearfield monitoring via Genelec 8240A SAM speakers; there are more than 50 similar Genelec monitors throughout the facility, Warren reports.
Both audio rooms, which are prewired for future Dolby Atmos projects, are identically equipped with Avid S6 M40 24-fader control surfaces and Pro Tools|HDX2 DAWs. Art Zalaya of AZ Studio Workstation has built custom walnut desks for the S6 surfaces to Warren’s design spec.
“I’m using the new Mac Pro 12-core with 64 gigs of RAM and dual D700 video cards. It’s the fastest computer on the market,” he says. Speaker and source control is handled by Dangerous Monitor ST (stereo) and Monitor SR (surround) systems.
A Focusrite RedNet-driven Dante network links all the mix rooms and VO booths. “That gives the client the flexibility, depending upon the project and the scheduling, to swap VO rooms and DAWs, or we can combine the VO rooms going to either DAW,” he elaborates. “We have the same ability with video, because we’re using an HDbaseT matrix. Audio anywhere, video anywhere.”
A RedNet 5 Dante-to-Pro Tools bridge at each console connects to a RedNet 4 mic pre in each VO booth, sitting vertically in a shallow custom rack with an XLR patchbay. An eight-channel Mogami snake offers analog redundancy. “We have analog mic pres as well—VO industry-standard Avalon 737s, plus an API lunchbox filled with 1073s,” he adds.
72andSunny’s clients include Adidas, Google, Starbucks, Target and Samsung—so the monitor screen brand should come as no surprise: “We’ve got a 65-inch 4K Samsung in the nearfield studio and 32-inch Samsung monitors in each VO room,” reports Warren.
“Every edit bay is 4K. This is the only facility in the country with 55-inch Samsung HD-SDI broadcast monitors in the rooms; everybody else has 32s. I don’t have a single HDMI cable—the entire thing is Thunderbolt at 20 gigabits per second. Each video bay has Final Cut, Media Composer and Adobe software. And I had Sound Construction custom-build isolation racks for the edit bays—12RU racks with a custom walnut finish that match every desk, wall and trim in the building.” The acoustically isolated and free-floating facility is on a fiber switch, with separate Avid ISIS servers dedicated to audio and video. “We can expand on that by putting in eight-port Cisco switches wherever we need them and running Ethernet to anywhere in the entire complex,” he says.
There are dozens of Furman power units, Warren continues. “There are P-1800 voltage regulators and conditioners everywhere. At every rack, we have a Furman UPS as well. We’re pulling 40 amps just for the cinema room rack so we have a couple of 20-amp Furman units there.”
For any of the agency’s clients looking for similar capabilities, Warren now has a package that he can offer: “We can mirror the sites easily for any of their clients. I’ve designed the template; the template is proven; they’re good to go.”
MW Audio Visual