El Segundo, CA (September 29, 2014)—Working from his studio, Sonic Fuel, in El Segundo, CA, TV and film music composer Chris Lennertz needed a multi-channel audio interface system able to quickly transfer full musical arrangements between his Cubase composition and sequencing machine and his print rig, a Pro Tools | HD system.
Until early 2014, before discovering Focusrite’s RedNet, Chris and his assistant Alex Bornstein were finding it difficult to maintain this flexibility, so they set out on the search for a new system, as Lennertz explains. “Before we implemented the RedNet system, we had just 16 inputs and outputs into the Pro Tools rig. It was getting to the point where being able to print quickly was no longer working because we were making three or four passes just to capture everything in the mix. We started looking into things like a MADI infrastructure or buying more I/Os for Pro Tools, but then we found out about RedNet and it seemed too good to be true.”
So, with Bornstein’s technical assistance, Lennertz made the switch to RedNet, purchasing a RedNet PCIe card, two RedNet 5 HD Bridges, a RedNet 2 16-channel A-D/D-A and a RedNet 4 eight-channel mic preamp.
“With RedNet, we can have 64 ins and outs, so we can print our cues in one pass, and both rigs can use the interfaces… It’s pretty crazy,” said Lennertz.
Because the transfer between Cubase and Pro Tools takes place in the digital domain at low latency, (digital audio is routed internally by RedNet without having to be converted to analogue and back to digital again), the signal quality is not degraded, as it was by the multiple stages of A-D and D-A conversion in the previous rig. “It’s very important to me that I get as much time to write and conceive as possible, and spend as little time on tech as I have to,” explained Lennertz. “To be able to take back the time previously wasted on printing to either see my kids or write better music and be able to come up with themes without having the clock ticking quite as loudly is well worth it.”
“We spent a morning setting up the equipment and once that was done, it just worked,” added Bornstein. “Since then, the boxes have been locked: every morning when I walk in, they’re still on.”
Also, with RedNet, other rooms in the Sonic Fuel building can be used as recording locations. Lennertz and Bornstein can take the RedNet 4 eight-channel mic preamp to the live room, for example, and record directly into Lennertz’s rig on the other side of the building.
“Any room in the facility that has an Ethernet connection can be patched in to the RedNet network and you can record there. To be able to quickly record multi-channel audio from anywhere in this environment is huge,” said Bornstein.