3DsoundSurge Press Release:Mixing the Classics at 24/96 on Emerald's System 5

Mixing the Classics at 24/96 on Emerald's System 5

New All-Digital DVD-Audio Release From Classic Records Features Moscow State Symphony Orchestra Playing Rimsky-Korsakov and Shostakovich

NASHVILLE, Tenn., June 20 /PRNewswire/ -- Emerald Sound Studios, located on Music Row in this home of Country Music, recently competed its first 24-bit/96 kHz remix session of music from another genre. Working with recordings of the Moscow State Symphony Orchestra, executive producer Michael Hobson and session engineer Eric Bickel have remixed two major pieces for release later this year on DVD-Audio, the new all-digital, multichannel consumer format. All material was played back from a Euphonix R-1 Digital Multi-Track Recorder and remixed through a System 5 High Performance Digital Console.

According to Michael Hobson, the project started last October at two concert venues in Graz and Salzburg, Austria. ``We recorded a series of performances with the world-famous Moscow State Symphony Orchestra, conducted by Pavel Kogan, including Shostakovich's Fifth Symphony and Rimsky-Korsakov's Scheherazade.'' A DVD-Audio from the session, the first produced by Classic Records, is scheduled for release later this year. The label has already issued 35 DVDs containing high-precision two-channel music recordings.

Assisted by location engineers Marc J. Aubort and Joanna Nickreniz, Hobson secured high-quality recordings using a simple, six-microphone array. ``We had a main pair of left and right microphones on the stage, in rear of the conductor, plus spot microphones located to the left and right,'' he says. ``Plus a rear stereo pair to pick up reverberation and ambience in the concert halls.'' These six microphones were connected to high-precision mic pre-amplifiers plus 24-bit A-to-D converters, and thus to a PC-based, hard-disk recording system that comprised three, two-channel cards controlled by Samplitude software from SEKD.

At Emerald Sound Studios, the edited 24/96 data tracks were transferred directly within the digital domain to six open tracks on the facility's R-1 Multi-Track Recorder. ``The R-1 is fast and easy to use,'' says session engineer Eric Bickel, ``and behaves just like a conventional tape machine.'' Outputs from the R-1 were routed directly via MADI connections to the facility's new System 5 digital console for remix to the final 5.1-channel DVD-Audio Format. Control room monitoring was via Mackie HR824 active near-field systems.

``We routed the main left and right microphones from the stage to the DVD-Audio left and right channels,'' explains Michael Hobson, ``and added the output from the far-right spot microphone favoring the celli and bass to the right channel only. The left-side spot microphone, which was aimed at the concert master and first violin, was routed and level-balanced to both the left and right busses for the DVD-Audio mix. We blended the various on-stage sources to produce a center-channel output.'' The pair of ambience microphones were routed directly to the surround-left and surround-right outputs, while a band-limited mix of all six channels fed the ``0.1'' or low-frequency extension (LFE) DVD-Audio output.

``In addition to the 5.1-channel DVD-A mix,'' Hobson says, ``we also recorded a 24/96 stereo two-channel mix for compatibility with DVD-Video decks.''

Eric Bickel says that the remix session on the System 5 at Emerald Sound Studios went extremely well. ``The sound quality at 24/96 blew my mind,'' he enthuses. ``I've never heard anything like it. We worked for over 50 hours on the remix session; the high-speed, random-access R-1 recorder was a joy. We used little signal processing through the Systems 5, aside from a touch of synthetic reverb for the surrounds.''

``I loved working on the System 5,'' he adds. ``It sounds very transparent and provided a wide dynamic range. Working 24-bit at 96 KHz makes a major difference to the sound of a mix; it has a clarity and an openness that is superior to lower sampling rates. When I mix, I liken the process to painting on canvas -- the more 'sonic colors' I have, the more creative I can be. At 96 KHz, you can hear a new level of hues and textures that just isn't there at 48 kHz. You can place sounds in exactly the position you want within the 5.1-channel sound field, and they are highly realistic; you have more control over frequency range, dynamics and sonic detailing.''

``All in all,'' the engineer reflects, ``the System 5 was ideal for this DVD-Audio project. It offers extremely flexible 5.1-channel monitoring, and was very easy to use during these demanding sessions. The automation was straightforward to master. Emerald's System 5 did what I needed it to do, and made me look good with the client.''

More information from:
Michael Hobson, Classic Records; 323-466-9694 ext. 14;
mhclassical@hotmail.com.
Eric Bickel, Emerald Sound Studios; 615-846-5200;
eric@emeraldsound.com.

Based in Silicon Valley California, Euphonix Inc. (Nasdaq: EUPH - news) develops, manufactures and supports networked digital audio systems for music, film & TV post-production, broadcast, sound reinforcement and multimedia applications. In addition, the company is developing software, hardware and support services for Internet-enabled audio production in the entertainment industry. Through innovative design, Euphonix products enable professional artists, producers, and engineers, to be more productive and creative than ever before.

Founded in 1988, Euphonix has delivered more large format digital-control mixing consoles worldwide than any other manufacturer and is the first professional console manufacturer to deliver a 24bit 96kHz audio console and multitrack recorder to the industry. For more information call 650-855-0400 or visit the Euphonix web site at www.euphonix.com.

SOURCE: Euphonix, Inc.