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Spencer Readies for Atmos with Focusrite

Shifting to mixing freelance at home, post pro Jez Spencer has built up his home facility with new gear from Genelec and Focusrite.

Shifting to mixing freelance at home, post pro Jez Spencer has built up his home facility with new gear from Genelec and Focusrite.
Shifting to mixing freelance at home, post pro Jez Spencer has built up his home facility with new gear from Genelec and Focusrite.

United Kingdom (July 8, 2020)—An upgrade to Focusrite’s Red 16Line interface a while ago is enabling UK-based post production audio professional Jez Spencer to smoothly transition his room to handle Dolby Atmos projects.

“I do much of my work at my home facility, and it’s a relatively small setup,” notes Spencer, a scoring composer and post engineer. “When I made the move to working freelance at home, I had a Focusrite Scarlet 18i20 interface, which I loved. It was a gradual process to work up to my current gear complement. After converting to Pro Tools HD Native, I eventually settled on the Red 16Line, which has been phenomenal for me in terms of my workflow and efficiency. The audio quality is faultless. There’s a brightness and a clarity that I wasn’t aware of before.”

He adds, “It works well with my monitor setup, which is composed of Genelec 8330A Smart Active Monitors and a Genelec Smart Active Subwoofer. I feel like the combination of the Focusrite with the Genelecs has put my studio on such a high level now that I’m as comfortable in this room as any facility in town, really.”

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Spencer got his start in the industry as a runner at MAG Masters in London. Decades later, he has an impressive resume that includes the recent Academy Award-nominated documentary For Sama. Other credits include the docu-series programs Drug Lords, Dispatches, Panorama and many others.

Spencer uses the Red 16Line working with multiple digital audio workstations, toggling between Pro Tools HD, Cubase and Ableton as the project dictates. “The other thing that’s so appealing about the Red 16Line is that the monitoring control can control as many or as few outputs as you want it to,” says Spencer, who is in the process of converting his room to the Dolby Atmos format with an Avid S3 control surface.

“With this new Atmos room, the Red 16Line can control the whole thing from the front panel, which is great,” he says. “I’ve got a potential series for Netflix coming up, which I’m hoping to prep at home in Atmos and then take it into the studio for final mixing – but with the virus out in the world, I may end up doing more of the work at home than I had planned, and I certainly have the right tools for it now.”

Focusrite • pro.focusrite.com

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