Prism Sound Orpheus - Audio Media

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spiral staircase to the main floor area you can seea counterweight system for acoustic adjustmentof ceiling panels, and the additional isolationareas that include a good sized 111ft 2 drumbooth. Sitting in the drum booth, on my visit,was another addition to the Cream stock – afully restored Bosendorfer Imperial grand piano,bought by Richard at auction and originating fromAir Studios’ Oxford Street days.There are no windows in the live room. “As thelive room is not overlooked it can be used by anyof the White Rooms or in a stand alone capacity”,explains Chris. Video links can be establishedbetween any of the White Rooms or the Creamcontrol room in either direction, as required,maximising the flexibility of the facility once again.With a wide variety of workspace combinations,a good talkback system is essential. A customTrilogy Orator Matrix talkback system is installedthroughout the facilities and an Aviom 16-channelpersonal mixing system gives very comprehensivefoldback control for performers.As I explored all of the various areas within thebuilding I could really appreciate just how flexible itall was, extremely well designed and executed.To make the client experience even morepleasurable, and negate the need to venture toofar from the premises, the Milk Bar can provideall manner of refreshments throughout the day.Set next to a small communal seating/pool tablearea for a bit of networking orcasual chat, it is these additionsto the facilities that make such adifference to the workflow. It helpsthat chef, Liz Huxley, who has abackground in the industry runsthis, so has a good idea of whatrequirements are likely to be.Gold TopI have, for various reasons, visited,tested, and reviewed a numberof new build studio businesses indifferent parts of the world, andthe thought that always passesthrough my mind as I walk awayis “How long will this one last?”.Coming away from Cream, orshould I say Cream, the WhiteRooms, and GearBox… and that is the point. Thisis not a facility thrown together in a bottomlessmoney pit, but a studio developed alongside andNX SeriesPrecision monitoring forrecording studios and edit suitesFull of the latest in speaker technology and designed from theground up for critical listening in recording facilities where aprecise, transparent, professional sound is essential, the NXSeries set new standards in sonic accuracy and packaging.Precision monitoring and audio performance of this calibre hasnever been so affordable.Main Features Dedicated 60W (LF) + 40W (HF) bi-amplifiers Hard dome tweeters with magnesium diaphragms to ensure a soundfree from harsh metallic characteristics LF drivers with HR (Hyper Radial) diaphragm ensuring a smooth, naturalsound with excellent mid/low frequency reproduction Time-aligned front baffle design and internal HP Sound reflectorspart of a collective. A one stop creative facility withexperience, expertise and backup in abundance.It was a bold move to build such a facility inthe current climate, it makes business sense and,with my engineer hat on, makes for an excitingand incredibly flexible creative recording studio.So I walk away from Cream Recording Studios withnothing but positive feelings. Richard and his teamhave created a very welcome addition to the creativefacilities community. ∫....................................INFORMATIONT +44 (0) 208 963 8622W www.creamrecordingstudios.comE info@creamrecordingstudios.comCREAMNX-6A20mm tweeter, 160mm woofer, 100 watt bi-ampNX-5A20mm tweeter, 130mm woofer, 100 watt bi-ampFostex Company, 3-2-35 Musashino, Akishima, Tokyo, Japan 196-0021Tel: +81 (0)42-546-4974 Fax: +81 (0)42-546-9222 Email: info_sales@fostex.jpAUDIO MEDIA MAY 2008 43
Back for another go aroundthe upgrade treadmill,Audition appears with yetmore features bolted on.RICHARD WENTK tries it out.Given the dominance of all things Pro Tools, and aselection of less popular but prestigious DAWssnapping at Digidesign’s heels, Audition tended tobe sidelined, often relegated to the more obscure regionsof broadcast work, especially radio. This may be becauseAdobe doesn’t seem to do post – which is be ironicconsidering that Audition is handily twinned with movingimage applications Premiere and AfterEffects. But Adobe’scustomer focus seems to be more on semi-pros, corporates,and boutiques than the TV and film sound mainstream.Go For Full FatIt’s odd then to find that Audition isn’t included inany of the CS3 bundles. CS3 users get SoundBooth,which is a simplified version, capable of a few neattricks, but designed so that most of the processing ispackaged to make it easy to use for non-audio types.Audition, billed as the full-fat version,seems to be out on a limb slightly – a littletoo deep and difficult for the dynamiccontent market that CS3 is aimed at, butnot quite respected enough to get a solidtop and tail sections, and highlighted areas in the mainwindow indicate exactly how much of the file is beinghighlighted. It’s a thoughtful and innovative feature whicheliminates much of the zooming in and out which seemsnecessary while editing, and it makes it very much easierto trim dead air from the start and end of a file.Colourful SpectresThe Spectral Editor – which remains a unique and verypowerful feature – has been extended with customisableresponses and colours. You can set your own colourscheme for the spectral display – good for eye candy,perhaps less useful for editing – and also set differentdisplay modes which emphasise different features.There are time and frequency-based spectral displays.These trade off accuracy of one feature against the other,so for rhythmic work the time-important display whichmake sure the beats are in the right place, while for finespectral editing the frequency-important display makessure all of the overtones will be displayed correctly.There also a log display mode, which stretches the lowerfrequency bands and makes them easier to edit, at theADOBE AUDITION 3daW WoRKSTaTioNTHE REVIEWERPAUL MAC is Editor of Audio Mediamagazine.toe-hold in professional post.It’s not clear why this should be,because we’ll say at the start thatAudition is a very good audio editor.It’s packed with more than enoughediting features, and handles all of thebasic requirements – including surround – with aplomb.But it also offers some unique audio clean-up solutionsthat are almost uncannily good at removing unwantedmaterial from recordings.Version 3 builds on thatbase with new featuresthat fill in some gaps, butdon’t try to take Auditionin a new direction. A basicusability enhancementis automatic crossfading.This works as you’d expectit to – when you drag a clipover another in the mixer, acrossfade appears. Previousversions would butt-join clips instead, and creatingcrossfades took more effort than it should have. This mightseem like a small change but it’s a huge improvement inproductivity for soundscape assembly. With loop-formatclips, dragging is now ‘sticky’ – Audition tries to guesswhere the beat points are for simplified looping. It wouldhave been good to include a translucency option fortighter beat matching of one clip over another, but that’sa nitpick – the feature works well as it stands. You can ofcourse drag the crossfade points too, and select eitherlinear or cosine crossfade laws.Top N' TailingThe Editor now has a top and tail mode. This is slightlyconfusing when first activated, but soon becomes secondnature. The usual editing window splits into three panes,with the start of the file at the left, the body in the middle,and the end on the right. It’s possible to zoom in on the“It’s not clear why this should be, becausewe’ll say at the start that Audition is avery good audio editor. It’s packed with morethan enough editing features, and handlesall of the basic requirements – includingsurround – with aplomb.”expense of high end detail. You can switch between allof these very quickly – refresh times are good, even ona mid-range PC.The visual features continue with a new EffectsPaintbrush, and also a Spot Healing tool. These feellike they’ve escaped from Photoshop, and seem moresuited to graphic editing than audio – perhaps a sign ofthings to come, and a nod to a slightly obscure Mac-onlyaudio processing package called Metasynth, whose mainfeature is visual processingof spectral audio files.Audition doesn’t go quiteas far as Metasynth – there’sno visual sharpen or blur –but the Effects Paintbrushoffers an interesting hybrid.You can use it to ‘paint’effects in the spectralwindow. So the effect isonly applied to the areawhere you drag the brush.If this seems confusing, the secret is to think of the brushas a movable bandpass filter – so if you paint a downwardsweep using an echo effect, you’ll get echo over a movingfilter band. There’s a lot of creative versatility locked up inthis feature, but it’s very different to the usual patch-bayand signal flow paradigm used in audio, and so it may notbe to everyone’s taste. The Spot Healing tool is a relatedbut simpler effect. It’s a point and click audio smootherand is perfect for painting out clunks, thumps and clicks.It’s a fantastically useful tool, and it can carry Auditionalmost on its own for anyone who spends time on anykind of audio restoration.Predictably, there’s a selection of new effects,and many of them nod towards retro-processingand mastering. On offer is a fairly comprehensive collectionof the usual suspects – convolution reverb, ‘analogue’delay, mastering tool, guitar suite, and tube compressor.The audio quality is mid-range – not quite up to the44audio media may 2008
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