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The Voice from Above Part 3


The Voice from Above Part 3
by Gary Woods

            Last week we talked about “Immersive Sound” and Dolby Atmos. This week we talked about the new studio he has set up.

You have recently set up a studio in Santa Barbara (Sound Waves SB, with the capability of recording with Dolby Atmos. What are the component parts of that studio? (Dennis) Actually, I have had my studio since 2005. Last year I made a substantial upgrade to accommodate, among a number of other capabilities, Dolby Atmos. The object-based system, the full volume level in all monitors, the full frequency range surround monitors, the bass management for surrounds, and finally the Dolby company made Atmos an obvious choice for me.”

                  He then gave me a list of the upgraded equipment in the studio.

* Meyer Sound Acheron 80 screen channel monitors, HMS-12 and HMS-10 surround and ceiling monitors, X-800C subwoofers, X-400 surround bass management monitors.

* Euphonix System-5 MC control surface

* Protools HDX orchestra rig

* Protools HDX prelay/electronics rig

* Protools HDX mix rig

* Protools 10 video rig

* Antelope Isochrone 10M Atomic Clock

* Antelope Trinity Master Digital Clock

*Christie Digital Projection on 12’ x 20’ screen

                  You like to work in a 192K environment. What are the component parts of your audio chain? (Dennis) 192k, especially for orchestra, is stunning. The clarity, depth and width of the soundscape is incredible. I knew that, since I love the sound of 192k, I couldn’t mix through a digital console since the maximum capability of any current digital console is 96k. I kept my Euphonix CS3000 analog console, which sounds spectacular, and return the orchestral elements through it, and then into the mix rig. The electronic/prelay elements are mixed via madi into the mix rig. So not only can I keep the orchestral elements at 192k all the way through the mix, adding a bit of that most desirable analog warmth and richness, but I can mix up to 88-channels simultaneously.

                  When did you first get involved with “Immersive Sound?” (Dennis) “Back in December of 2012 I was about to work on the movie "Oz: The Great and Powerful." The director, Sam Raimi, told me the film would be released in "these new immersive sound formats," and he wanted me to "do something for them" in my recording and/or mixing. He arranged a demonstration for a few of us working on the film. I had never heard either of these formats before and was quite skeptical as to their value and impact. But when I heard the demos of both systems, I was blown away. I never heard anything like that in film sound before. But the problem I had was that there wasn't any facility I could work at for film music mixing that had the capability of immersive sound monitoring. So I decided to upgrade my own facility. The upgrade was completed in August, 2013.”

If you have any suggestions or questions for me please drop me a note at or see my column on the Internet at or call me at (805) 729-0910

Gary Woods is the Computer Trainer for the Santa Barbara Association of Realtors and he is a Broker/Associate at Sotheby’s International Realty.