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As part of their recent rebrand, Halo Post wanted to add a versatile new sound studio that would be equally at home handling TV and film projects. After demoing different systems at our Golden Square facility, they worked with our team to put together a Pro Tools | S6-based system with DAD monitoring control and support for 7.1 film mixing.
“We’ve seen a steady increase in the volume of work coming through Halo in the last year or so, and we simply needed more space,” explained Richard Addis, Halo’s Head of Audio Operations. “Some of our studios lend themselves very well to specific types of work, but we didn’t want this to be the case with Studio 5 – we took care to design a system which leant itself very well to film and TV.”
“ Jigsaw24 have been fantastic. They know the products inside out and are always available – and more often than not in person. Their in-house facilities in Golden Square are second to none, and their willingness to demonstrate and provide ongoing training goes beyond any after-sales support I’ve experienced before."
“The Studio 5 build, along with our recent rebrand, provided us with a fantastic opportunity to stamp Halo’s mark on something new. The Avid S6 was the obvious choice to complement that concept,” Richard told us. “Jigsaw24 were very helpful with reviewing my designs and offering suggestions throughout the process, liaising with manufacturers to clarify specifications and suggest the best configurations that would work for us.
“I think we went through three or four revisions before the final design was nailed down, and Ian at Jigsaw24 spent a lot of time talking us through the detail of the S6 at their Golden Square demo room. They’d previously put me on to both the DAD AX32 and the CB Electronics TMC-1 as part of a demo event at Jigsaw24 in Soho, and having all these products in their demo room meant that I was able to test drive the same configuration in an impartial environment before committing.”
As an Avid-based facility, Halo were keen on using Avid’s latest S6 control surface. “The S6’s modular design meant that we could arrange our S6 to best t in with Halo’s workflows,” Richard explained, “and the increased visual feedback that the console gives the mixer compared to the ICON desks is phenomenal – it drastically improves the mixing experience and means spending far more time over the faders, which is great for both productivity and neckache!”
Richard investigated numerous options for monitoring control with the S6, “and in all honesty, nothing came close to the functionality and scalability of the AX32/TMC-1 combination. The modular nature of the AX32 meant that it was a no-brainer in terms of expanding our I/O capabilities very quickly, and the TMC-1’s flexibility, coupled with its elegant S6 module option, tops the system o very nicely indeed.”
Alongside the S6 and its attendant convertors, Richard’s team upgraded the studio’s monitoring system to “a customised Munro Acoustics Dynaudio 7.1 system, with Dynaudio C3As as the screen channels, and six MF15c surrounds driven by Dynaudio custom T1000 and T4-250 amplifiers. An XTA 448 handles crossovers and EQ for screen channels and LFE, and an XTA 446 is used for surround speaker ganging and EQs.
“Additionally we have a pair of active Avantone MixCubes and a at panel TV as reference speakers, and also have the ability to quickly rig nearfield surround monitoring up to 7.1 through dedicated tielines and patching to the studio.”
Studio 5 has proved popular with the Halo audio team. As Richard explains, “The customisation on the S6 is fantastic; everyone here has their own defaults, which work with our in-house template sessions. The touchscreen Master Module is a big hit – especially the touch panner – and having stereo and mono fold-downs accessible via a single button press on the TMC-1 without having to set up and output manual fold-downs in your session is great.”
Having such a versatile space has also made scheduling at Halo easier overall. “It allows us to be much more exible,” Richard said. “And the adjacent sound editing suite gives us the ability to have sound editorial literally metres away, which is a boon on longer running projects where editorial continues well into the mixing period.”
Download the full case study here. If you want to know more, give us a call on 03332 409 201 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.