With the uptake of Dolby Atmos streaming, demand for mixing expertise has significantly increased – not only for recent releases, but entire back catalogues. Among those benefitting is Chris Lord-Alge, among the most prolific and consistently successful rock, pop and country mix engineers.
In response, he has installed Ocean Way Audio monitoring for Atmos alongside his Ocean Way Audio main speaker system at Mix LA, installed two years ago and designed by Ocean Way Audio CEO and engineer/producer, Allen Sides.
‘We had already installed one of our large monitor systems is his studio and Chris asked if we could provide an 9.1.4 Atmos mixing system that could deliver the definition and punch of his large monitors,’ says Sides. ‘It was a tight fit, but our efforts yielded a very impressive, yet compact monitor system.’
The new system comprises three HR4S monitors for LCR, along with a subwoofer for each HR4 under the console ‘We also added one extra subwoofer for the LFE, and the LFE is also fed to the other three subs – which means each of the LCR monitors are full range to 25Hz with no bass management,’ Sides explains.
Other elements of the Atmos mix array include ten Pro2A-S loudspeakers for surround, and two S12 subs in the rear of the control room for surround bass management.
Recently, Ocean Way Audio developed the lighter and smaller Pro2A-S specifically for surround applications where installation flexibility is key. Based on the Pro 2A, the Pro 2AS features a smaller rectangular enclosure with remote Ocean Way Audio amplifiers, as one of the greatest challenges users face in implementing an immersive audio system is loudspeaker mounting and powering. The Pro 2AS cuts the weight of each speaker by half making them easier to mount on trusses, ceilings or walls.
The first album Lord-Alge remixed for Dolby Atmos in his new room was Green Day’s American Idiot, recorded at Ocean Way Studio B in Hollywood. Originally released in 2004, it was certified six times platinum and won a Grammy for Record of the Year.
While Lord-Alge had not previously owned an Atmos system of his own, he has worked on Atmos projects in different commercial facilities. A notoriously discriminating client, he was impressed with the new system: ‘He said that one of the things that really impressed him, apart from the clear, punchy sound, was that when he panned everything around the room, it sounded utterly consistent,’ says Sides. ‘This was a contrast to some of the other rooms he had worked in, even down to the lower frequency range.’
‘I have known Allen for many years and have mixed many projects on his monitors at Ocean Way as well as in my own facility,’ says Lord-Alge. ‘When I needed an Atmos mix environment at my own studio, Allen was my first call.’
Independent systems guru Art Kelm handled the Mix LA Atmos system installation. ‘Art Is a great friend and was brought in to engineer and implement the Atmos upgrade infrastructure,’ Lord-Alge adds.
‘This was a significant aspect as the speaker placement, trusses, electronics and system wiring had to be managed with my staff while I was away,’ says Sides. ‘Art’s experience with Capitol Studios Atmos system upgrade made him the perfect choice, as he is familiar with all of the various technologies employed. Art did an outstanding job of supervising all of the technical aspects and wiring installation.’
Mix LA’s Studio A control room is centred on a Solid State Logic SL4064E Series console installed in 1986. The Atmos system retrofit calls on three separate Pro Tools rigs, all networked within a Dante AoIP infrastructure by a ten-piece Focusrite RedNet networked audio system tied into an Avid Matrix Studio with a DAD MOM monitor controller that sits on the console. With his immersive mixing room completed, Lord-Alge is able to move through the entire production process here, from stereo mixing, to creating stems, to building an immersive mix in Atmos.
‘This room sounds amazing and is really inspiring to work in,’ he reports. ‘Immersive audio provides me with an entirely new palette of sonic possibilities, and Ocean Way Audio has delivered a no-compromise system that outperforms anything I’ve heard. it is an exciting time to be working on new material, as well as taking my older mixes to a whole new level.’
More: http://oceanwayaudio.com
