Los Angeles, CA (April 21, 2020)—Multi-Grammy-winning mix engineer Rob Burrell recently converted a space in his Nashville-area home studio into a Dolby Atmos mix room, incorporating the Focusrite Red 16Line 64-in/64-out Thunderbolt 3 and Pro Tools HD-compatible audio interface.
“I really needed the workflow to work for mixing, mastering and Atmos post,” notes Burrell, who has worked with artists including Carrie Underwood, Little Big Town, Michael W. Smith, Michael McDonald and many more, as well as having multiple credits in film and television. “I had a big list of things that I wanted to hit in the most concise kind of package possible—and so enter the Red 16Line, which has rocked my world. I had high hopes for the Red 16Line, but generally I don’t get too excited about gear anymore, because I’ve been there and done that with much of it. But this is different.
“First of all, I always talk about wanting the ‘tech to melt away,’ meaning that once a new bit of gear is integrated into your setup, it should feel like it’s not there, and I get that here. But more than that, it has affected the sound in a positive way. It knocked me out, because once I was using the Red 16Line, I could hear things in my mixes that I was missing before. As a result, my mixes have been coming together more quickly, with more transparency for me and easier troubleshooting. I love the Red 16Line and highly recommend it.”
On his philosophy of mixing day to day, he says, “If someone asks me if I’m more of an analog or digital guy, I’m whatever it takes to make things great. Generally, I work digitally all in the box now, but it varies from project to project. I can literally go from an orchestral record to a hip-hop song the next day, and a country song the day after that. I like the challenge, and I like to get my butt kicked a little bit by trying new things.
“So after mixing in 5.1 and 7.1 since the late ‘90s, it was a no-brainer to dive into Atmos, which is a very precise and technical process with a fantastically artistic canvas to paint with. It’s such a deeply rewarding challenge. Recently I’ve been going back to material that I’ve mixed in the past and mixing it for Atmos, just as an exercise. It’s really illuminating.”
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