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Jessica Simpson Jessica Simpson WINTER 2002 ISSUE #14 THE SONY PRO AUDIO NEWSMAGAZINE www.sony.com/proaudio Also Inside: Special DMX-R100 Showcase The Producers Uses DRE-S777 David Was Scores Max Bickford Third Eye Blind Korn POP SENSATION JESSICAJESSICA SIMPSONSIMPSON Uses Sony 800G Microphone and Oxford Console on Latest Hit Album beforecd you recorder buy a check its professional credentials PC keyboard input for text entry Even among professional CD The CDR-W66 (not shown) adds DSP recorders, the Sony CDR-W33 balanced XLR analog and AES/EBU SBM, EQ and Limiter and CDR-W66 stand apart. digital I/O plus 2X speed duplication Three DSP functions fine-tune with a second CDR-W66. your sources.* There’s a limiter The Sony CDR-W33 and CDR-W66 with adjustable ratio. A 3-band deliver the design and operational ® EQ. And Super Bit Mapping capabilities that professional circuitry that captures near 20-bit applications require. And you quality on industry-standard 16-bit get every last bit of performance compact discs. Conveniences without spending your every last include wired or wireless remote dime. To find out more, call CDR-W33 operation and even a PC keyboard 1-800-472-SONY, ext. CDR. ™ input for CD TEXT entry. Sony's *Analog sources only on CDR-W33. 24-bit A/D and D/A converters help maintain resolution. The CDR-W33 uses standard unbalanced analog audio, SPDIF and optical digital I/O. 1-800-472-SONY ext. CDR www.sony.com/proaudio ©2001 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. CDR-W66 Features and specifications are subject to change without notice. Sony, Super Bit Mapping and CD TEXT are trademarks of Sony. themix Third Eye Blind Sets Sights on S777 Third Eye Blind producer/partner/engineer Jason Carmer spaces in the software first encountered Sony’s DRE-S777 digital reverb at a mix ses- series, but lean towards sion for ‘Eye Conqueror,’ a song the group penned for “A Ocean Way Studio B. Knights Tale.” “I was impressed by the sound Micheal Brauer Bill Putnam built some was producing with it,” Carmer says. “When vocalist/song- terrific rooms, and writer/producer Steven Jenkins, Bass player Arion Salazar, that’s one of his best.” Drummer Brad Hardgraeves and I decided to build a studio, Currently working the S777 was one of the first pieces of gear we wanted in our on the new Third Eye house rack.” Blind (pictured right) Carmer, whose credits include producing Run-DMC, CD, Carmer plans to Merle Haggard, Paleface and Mark Eitzel reports that, since use S777 sampling being located in SF’s cool downtown South Park district, the software to create new aural spaces for the group. “I know the studio, which they’ve named Morning Wood, is somewhat unit can be used in live performances, and I may talk with ‘space challenged.’ “Our live room is on the cozy side and rather our FOH mixer Joel Lonky to see if he’d like to buy his own to neutral,” he says. “I’ve been using two room mics to create a take it on the road with the band. I’ve worked with lots of ‘distance’ sound, running it through the S777 then taking the digital reverbs, and they’ve all got plusses and minuses,” output and mixing it into every mic on the drum kit to simulate Carmer concludes, “but the S777 is the first to truly sound a live room. I’ve experimented with a number of the reverb like a natural space.” - Filipetti Records Korn SonyTEC Award DMX for SmallR100Wins Format Console With DMX-R100 Console Award-winning engineer Frank Filipetti (seated) chose a Sony DMX-R100 digital console to record vocals for the upcoming Korn album. • Winter 2002 SONY SOUNDBYTE www.sony.com/proaudio “I do a lot of digital work, and I wanted the best quality and flexibility I Winners: From left to right, Sony Professional Audio is could find in a represented on stage by Clayton Blick, Paul Foschino, Karl small-format Kussmaul and Bob Tamburri, who accepted the 2001 TEC console capable of recording in 24-bit/96kHz,” comments Award for Small Format Console, awarded to the Sony Filipetti, who rented the R100 from New York-based rental DMX-R100 digital console at the 17th Annual Technology company Dreamhire. “The R100 fit the bill. The sound quality is Excellence & Creativity (TEC) Awards. The 2001 ceremony exceptional, the work surface is intuitive and easy-to-use, and was held at New York City’s Marriot Marquis on Saturday, the board is stable and reliable – we haven’t experienced any December 1, during the Audio Engineering Society crashes or lost data. Korn’s producer Michael Beinhorn (standing) (AES) tradeshow. and I are very pleased with the console’s performance.” SoundByte: The Sony Pro Audio Newsmagazine is published quarterly by Sony Electronics Inc. in association with MP&A Custom Publishing, a division of United Entertainment Media. SoundByte Editorial Director: Anthony P. Montesano; Managing Editor: Anthony Savona; Art Director: Marshall Moseley; Associate Art Director: Greg Gennaro; Design Associate: Brian Jackson; Staff Artist: Lauren Berkery. Cover Photo: Alberto Polot. Courtesy of Sony Music Entertainment. Used with permission; Photo Credits: pg 3 (top), Sean Beresford; (bottom left) George Winner Kanatous; pg 4, Courtesy of The Producers. Used with permission. pg 5 (bottom), Joan Marcus. Courtesy of Radio City Entertainment. Used with permission; pg 6 (bottom), Dave King; pg 7 1998 MERCURY (right), Alberto Polot. Courtesy of Sony Music Entertainment. Used with permission; pg 8, Robert Wolsch; pg 9 (top), David DeJong. Entire contents © 2002 Sony Electronics Inc. unless other- AWARD wise noted. All rights reserved. The opinions expressed in bylined articles herein represent those of the author alone and not of Sony. No part of this publication may be reproduced without the 1999 BIG APPLE written permission of Sony Electronics Inc. Sony is a trademark of Sony. For more information on any of the Sony products mentioned in this magazine, please contact: Sony Pro Audio at AWARD 1-800-686-SONY. Product features and specifications subject to change without notice. 3 themix DRE-S777 & The Producers Make Broadway Multichannel History “I’ve never heard a reverb that was quite as exciting as this one,” states were so happy with the way the ambiance and the S777 were working, Alan Silverman, mastering engineer of the cast recordings for the we got the idea to bring in a second S777.” smash Tony Award-winning Broadway hit The Producers. Working Then, according to Silverman, they began experimenting by closely with engineer/mixer Cynthia Daniels, the Grammy-nominat- assigning one reverb unit to the front, and another to the rear. They ed pair recently turned to the cutting edge would load in the orchestral and vocal stems, sound of the Sony DRE-S777 to make a bit of and apply slightly different reverbs to each, multichannel history. altering the front to back mix. “I like the four “The Producers is the first major outputs on the S777, and used it for mixing Broadway show to be done in 5.1,” Silverman both in the fronts and as a delayed reverb for continues. “Cynthia and I planned this proj- the rears,” adds Daniels. “It was very smooth ect carefully from beginning to end and and uncolored, with an ungranulated trail- wanted to truly recreate the theatrical off time that isn’t too bright at the end,” experience. That’s when we decided Silverman comments, “We went to use the Sony S777.” Silverman, from doing real theatrical to who owns Arf! Digital, a high-res ‘mega-real theatrical’.” mastering facility in New York City, Daniels and Silverman also noted that he he’d never used the appreciate the flexibility of the reverb before working on the S777. “I really like the different show. “I had heard an impressive mic placements available in demo and was convinced it was each preset,” Daniels says. “It the way to go,” he says. was ideal to not have to build a Recording and mixing The room out of an algorithm, but Producers also provided Daniels just tweak it from my listening with her first experience with spot. There are a lot of great the Sony reverb. “I had come to reverb units out there, but this believe, through word of one seems to use technology mouth, that the S777 was the that brings the best sounding reverb unit,” she most natural stated. “After using it, I characteris- found all the rumors tics to the to be true.” Working mix.” at an incredibly “You can tweak rapid pace, the spaces away from their orig- Daniels managed inal intent in a very creative to capture a 40 way,” Silverman adds. “The piece orchestra, eight principal purity of this reverb allows it to www.sony.com/proaudio stars and a cast of 20; all live to 48- interact very well with other tracks. “She is about the fastest state-of- the-art mastering gear. engineer I’ve ever seen,” Silverman It paired especially well with the said. With Grammy-nominated cast recordings such as Kiss Me Kate fantastic new Z-Systems surround EQ and compressor that were also and The Music Man on their credit list, the two make a powerful team. employed in the mastering of this project. Tracking at The Edison studio in New York, Daniels utilized the “The S777 was able to create a beautiful Broadway ambiance, just room’s natural sound, but felt she needed something extra to bring it like being in a wonderful theater with fantastic acoustics,” concludes into the Broadway realm.
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