Avid S6 powers Twickenham Studios’ near-field room

Avid S6 powers Twickenham Studios’ near-field room

This May, Twickenham Studios added a new audio suite to their already impressive lineup. Theatre 4 is the studios’ new near-field environment, and has already been put to work on television and film projects. 

At the heart of the room is Avid’s scalable, customisable S6-M40, which in Twickenham’s configuration has 24 faders, five knobs and and a Master Post Module.

twickenham_studios_theatre_4

This sound mixing/monitoring master module is an option which was added to the S6 system that enables the mixers to switch between recorded tracks/stems and their inputs and punch into record. It offers two rows of 10 PEC/DIRECT paddles, each with solo and mute buttons, and an OLED display to view track/stem names

“Twickenham Studios have been in operation for over 100 years, and it’s a privilege to be part of their development and help them continue that legacy,” said Joffrey Ghiringhelli, Head of Business Development for Pro Audio at Jigsaw24. “The flexibility and power of the S6 mean it’s the ideal choice for anyone designing a room to meet Dolby standards.”

Theatre 4 runs one Pro Tools HDX1, one HDX2 and one HDX3 system all on 12 Core Mac Pros with 64GB RAM, and is equipped with Avid MTRX audio interfaces, which combine flexible routing and monitor control with DAD’s legendary AD/DA convertors.

The room is configured for immersive audio, and its Dynaudio monitor array supports formats up to 7.1.4 in conjunction with the Dolby Atmos plug-in for home entertainment mixing. BSS speaker management is in use, allowing anyone to switch between mixing for television or cinema deliverables.

Remote working is also enabled by an Adderlink Infinity KVM system and a GB Labs SAN storage system over fibre has recently been installed to take care of all storage needs.

“Since its inception, Theatre 4 has grown to be a popular room with our clients and in house mixers alike,” said Twickenham Studios. “The Dynaudio BM15 screen and BM6A surround combination delivers a detailed and smooth listening environment, making it a perfect solution for this type of mixing environment.

“For a multi-format room such as this, we needed a certain degree of flexibility, which is why we opted for an Avid S6 controller coupled with a BSS speaker management solution. It is now one of our busiest rooms, catering for all of our Theatrical Mix Home Theatre deliverables, as well as original TV content for clients such as Netflix, BBC, Amazon and AMC.”

You can find out more about Theatre 4 here. If you want to know more about the S6 and our other audio solutions, give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Giles Martin on his career, The Beatles and the Avid Pro Tools | S6

Giles Martin on his career, The Beatles and the Avid Pro Tools | S6

After recently sorting out Giles Martin with a 32-fader Pro Tools | S6/M40 for Airborn Productions, the Abbey Road Studios-based production facility he operates, we chatted to the legendary music producer about his career, The Beatles, and why you should always back up your work with Pro Tools (especially if it’s the Fab Four’s master tapes…).

Check out our interview with Giles Martin to hear about his extensive music production career, including his tips on using Pro Tools and the Avid Pro Tools | S6 control surface we provided for him…

 

Want to know more? Get in touch with the audio team on audio@Jigsaw24.com or visit www.Jigsaw24.com/audio. For all the latest news and updates, follow us on Twitter @WeAreJigsaw24 and like us on Facebook.

A recap of our Evening with Neil Davidge event

A recap of our Evening with Neil Davidge event

We recently welcomed producer and composer Neil Davidge to our Soho service and customer experience centre for an exclusive talk about his long and varied career. Neil, best known for his work with Massive Attack, went into detail about the band’s classic album Mezzanine, his past film, TV and video game projects (including Clash of the Titans, Trouble the Water and Halo 4), his experiences using Pro Tools (since 1994!), and his current film and audio album project, Slo Light. We’ve included a brief recap of some of the topics below… 

Beginning with his musical background, Neil first talked about how he came from a musical family, his influences and his early studio equipment (going from 8 track to 16 track), and learning the gear. He also touched on working with lots of different artists around Bristol, doing remixes, editing and helping people produce.

“Initially I just wanted to be making music as much as I could, then you get to a point where you need to pay the bills,” Neil said. “Then you wake up one morning and your girlfriend says ‘I’m pregnant’, and you realise the responsibility’s on you. So for quite some time I got stuck into doing pop production, and would constantly be trying to find the emotional centre of this pop song, listening to the lyrics and talking to the singer. But they just want the song to be as catchy and loud as possible, so I was constantly disappointed at how deep I could actually go.”

NeilDavidge

Producing Massive Attack – Mezzanine

That depth Neil was looking for may have come after meeting Massive Attack’s Robert “3D” Del Naja; Neil explained how he met 3D and started working with Massive Attack. “I got a phone call saying ‘Hey, do you fancy working on an album with us?’. Initially, they just needed someone to help them record and get some ideas down. I was thinking it was going to be three weeks’ work, three months’ work, and it ended up being three years’ work!”

But while working on Mezzanine, Neil wasn’t really thinking about just how special the album would become. “There were moments when I did something and thought, ‘Yeah, that’s great’, but it’s always very much in the moment when you feel that, and then the next day you listen to it and it doesn’t really have the same connection. But then you listen to it another three months later and realise that actually it was really good. That’s the bizarre thing about creativity, it all depends on your state of mind. It was very much the same with 3D – he’d come into the studio one day, we’d listen to the sketches we’d been working on and then think that everything was rubbish and we had to start again. At one point, we recorded ten hours of music over the course of two weeks, spent six months working on it, trying to make it into an album, then ended up throwing it all away and starting from scratch!”

Neil then touched on the technical side of producing Mezzanine, the different systems and platforms used, and the changes in his creative process. “I started on the Atari ST because that had been my setup, but I was plonked in Massive Attack’s new studio and they had this Mac with Cubase Audio sat there. I didn’t really want to touch it, but as it started to appear that it was going to take a lot longer than three months, I thought I’d dive in. I felt really unlocked by the ability to record stuff then cut it around and turn it into something completely different. It was quite a revolution as I’d always felt quite frustrated in the studio working straight to tape – having Cubase Audio was like ‘Oh my God, I can completely change this performance’.”

Working in TV, film and games

Following his work with Massive Attack, Neil then began scoring and composing, working in TV and film: “After Mezzanine was released, I couldn’t watch a film or TV show without hearing a track from the album – or something that sounded eerily like it! I always felt an affinity with film and TV anyway, I’m very visually-led anyway. Emotions and colours and smells are what music is to me, so the idea of doing film and TV scores seemed obvious.”

Neil also composed for Halo 4, one of the biggest selling games series of all time. “I did find [Halo] quite challenging, I don’t know how composers score for games and make it really connect with an audience,” Neil said. “You have to just have a really good team, and everyone on the same page. I’d be writing a piece of music to four lines and a few pictures that would make the audience know the person just from the piece of music. If I sit there and read a script for a TV series and think it’s quite humorous but really dark at the same time, I can start imagining this sound world, with these cavernous drums and crazy jazz and electronic driving stuff. Then I see the rushes and think it’s a different show!

“With games, it’s even more so, as everyone has their own impression and it’s not until the final moment when everything comes together that you really know what it is. For Halo, I was involved for a long time, but some of the guys were working for a big period before I came on, and a big period after I left and handed all the music over, by which point it had turned into something different. If I did it again, I think I would want to be involved right from the beginning and see it right to the very end, because I’m trying to communicate something for an audience so they get an experience and understanding of the characters when they play the game or watch the TV show.”

Neil then went on to talk about working in Avid Pro Tools, before a Q&A session with the attendees. “Just getting in [Pro Tools], editing audio around and tuning things is a massive thing for me. These days, I’m working a lot in TV, and I build what I call these ‘spotting sessions’, where I have the whole episode and I’ll be cutting together various sketches and overlaying them very much like a music editor would, building up a collage of a score. But I’ll also be writing in that same session, putting strings in and some extra beats, mixing and matching with various bounces, time stretching and pitching bounces around. Essentially I can spend maybe four days working on an episode, throwing in fresh ideas, and after that I can have written 40 minutes of music. It’s a really nice way of working, it’s been developing over a long period of time, and I feel like it keeps getting fresher, and I keep blurring the lines between writing and editing and mixing.”

– Missed our Evening with Neil Davidge event? Be sure to keep an eye out for all our upcoming events over at our Events page.

Jigsaw24 Events

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

The view from the front: Mix with the Pros 3D

The view from the front: Mix with the Pros 3D

Missed our 3D sound event? You’re in luck. A couple of attendees – familiar MWTP face James Ivey from Pro Tools Expert and the new, more mysteriously named Statis from Beatnik TV – have kindly done everyone else a massive favour by rounding up the event.

Screen Shot 2016-11-28 at 12.46.30

 

Statis’ latest vlog over at Beatnik TV explains that “the event is devoted to helping audio professionals understand and work with the limitations and opportunities of [3D mix downs and sound for virtual reality]. From how to mix audio in 3D space to how to work with the issues created by movement in virtual realities, the event covered a huge range of the hurdles facing everyone working in these new sectors.” His video, below, features highlights of some of the day’s demos from Dolby, Sennheiser and more. (He also visited a very cool-looking graffiti show in the same episode, so you can brush up on your street art at the same time).

For a more detailed rundown of who said what, head over to Pro Tools Expert for James Ivey’s writeup, where insights include the fact that the S6 “can be used alongside any Eucon compatible application like Apple’s Logic Pro and because the S6 can address multiple machines and DAWs at the same time you can have different faders or banks of faders assigned to the different DAWs  at the same time. So you can have a group of virtual instrument channels from Logic running on the same surface as your dialog channels from Pro Tools.”

(There’s also a nice overview of the different speakers’ topics – useful in case you ever need to make small talk with Richard Addis or need to know who to direct your Dolby questions to).

Pro Tools Expert also managed to grab Avid’s Rich Nevens for a sit-down interview in our highly photogenic Steampunk demo room. Watch below for an overview on Rich’s journey to Avid’s Director of Strategic Solutions, and what Avid are planning for the future.

Thanks very much to James and Statis for a) dropping by and b) taking the time to give us such positive write ups – hope to see you next time, guys!

Missed out on Mix with the Pros? Our next instalment will be in early 2017, so keep an eye on our events page for dates, as well as a whole host of other upcoming audio-related events you might be interested in.

Jigsaw24 Events

Want to know more about 3D mixing or sound for VR? Give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news and reviews, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

Avid reveal summer trade in deals for would-be Pro Tools S3 and S6 owners

Avid reveal summer trade in deals for would-be Pro Tools S3 and S6 owners

Avid have announced a string of summer deals that offer audio pros and higher education institutions the chance to trade in their current studio hardware for a discount on a brand new Pro Tools | S3 or Pro Tools | S6 control surface and more. 

If you’re looking to update your studio setup or are an educator wanting to get students working on industry-standard kit, you’ve got until September to trade in your existing hardware and get massive discounts on the latest Avid models. We’ve included a roundup of the offers below, but as many of the systems you’ll get a discount on are configured to order, you’ll need to get in touch with our team to trade in your kit. You can do that on 03332 409 306, at audio@Jigsaw24.com or by popping your details in the form at the bottom of the page.

Avid S6 Trade In 2016

If you’re using:

– A Pro Control

– A C24

– A D-Command

You can trade it in for: £2649 off any configuration of an S6 M10 system.

Avid S3|Pro Tools Dock 2015

If you own: 

– An Avid/Euphonix Artist Control or Artist Mix

– A Mackie Hui

– A Mackie Control Universal

You can trade it in for: an Avid S3 for just £2699 ex VAT

Avid Pro Tools HDX + Omni

If you own: 

– Any configuration of Pro Tools HD system

…and are trading it in for an HDX system, you can get an additional £1329 off your HDX system’s trade-in price.

Avid ICON to S6 Exchange 2016

HE institutions can now trade in:

– A 16 fader D-Control against the purchase of an S6 M40 16-5-D

– A 32 fader D-Control against the purchase of an S6 M40 32-5-D

Pro Tools HD Native ThunderboltThere’s an education-only fire sale on, with Avid offering all HE customers 10% off the cost of a new HD Native + Omni I/O system, and 10% off the purchase of a new Pro Tools S3 (meaning that if you’re an education customer, buying an S3 new is cheaper than the trade-in listed above).

To get in touch with our experts and spec out your system, fill in the form below, give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news and reviews, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Sound 24: Make movies sound amazing!

Sound 24: Make movies sound amazing!

Sound 24 is multi-award winning audio post-production company owned by film sound supervisor and movie industry legend Glenn Freemantle. With a reputation for excellence and a credit list that includes some of the most critically lauded and financially successful movies made in the last 25 years, Sound 24 is deservedly ranked as one of the finest audio post companies in the world.

Sound24 OSCARS 2014

Jigsaw24 recently installed an Avid Pro Tools | S6 control surface in Sound 24’s facilities in Pinewood Film Studios. Once everything was up and running, we caught up with OSCAR and BAFTA award-winning sound designer and re-recording mixer Niv Adiri to discuss the company’s remarkable success, and how using Avid audio products has helped Sound 24 make movies sound amazing!

Want to book a demo of the Avid Pro Tools | S6? Drop an email to our pro audio specialists at audio@Jigsaw24.com or call 03332 409 285. For all the latest news, follow us @Jigsaw24Audio on Twitter or ‘Like’ us on Facebook

 

Avid Pro Tools | Dock Now Shipping

Avid Pro Tools | Dock Now Shipping

The Pro Audio Solutions team at Jigsaw24 welcome the release of the Pro Tools | Dock, the latest addition to the Avid Pro Mixing family.

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The Pro Tools | Dock is a compact, ergonomic, EUCON control surface designed to integrate with the free Pro Tools | Control iPad app, and based on the advanced touchscreen workflows on the Master Touch Module of the award-winning Pro Tools | S6. This system demonstrates Avid’s philosophy that mixers need the best of physical faders, knobs and switches in conjunction with touchscreen technology for things like fast navigation, metering, and on-screen plug-in control – a true hybrid approach. It’s equally adept at editorial and mixing workflow enhancement. And, when the Dock is paired with Pro Tools | S3, you gain complementary and enhanced functionality with the dedicated automation switches, transport controls, weighted aluminum jog wheel, colour-coded Soft Key switches and more…

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The image below of the iPad screen shows you the key concept of a ‘super’ Channel view. The Dock’s eight soft knobs can be used to control parameters like EQ, Dynamics, Panning and Sends on the Attentioned (focused) channel – just like the S6 Master Touch Module.  This new ‘super’ Channel view on Pro Tools | Control is also now available in the free iOS app! A better view of the cool, new expanded Channel view can be seen below:

Dock Highlights 1

A highly requested enhancement, that will also be free to all  Pro Tools | Control App users, is the colour-mapped Soft Keys larger view, (pictured below connected to the Dock). The two rows of LED colour-coded buttons on the Dock change colours and map to the Soft Keys in the smaller view on your iPad lining up directly underneath the matching soft button on-screen.

Dock Highlights 2

The iPad and Pro Tools | Control app are also now qualified to work as a wired direct connection to your Ethernet network with two adapters from Apple (the wired Lightning to USB 3 Camera Adapter + USB 2 to Ethernet Adapter) for connection of an Ethernet cable.

Want to book a demo? drop an e-mail to our Pro Audio Solutions specialists at audio@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

Avid S6 success at Jigsaw24

Avid S6 success at Jigsaw24

We are proud to announce that since our appointment as an Avid Elite Reseller for Audio in July 2015, Jigsaw24 has enjoyed major success in supplying Avid Pro Tools | S6 control surfaces. Installs have been deployed in a number of the UK’s premier audio production facilities, including: Abbey Road Institute, Airborn Productions, Evolutions, Halo Post, Splice Post and Sound24.

Abbey Road Institute S6 2016

In August 2015, we installed a 16 fader S6/M40 in the world-renowned, North London-based educational facility Abbey Road Institute.

0Airborn S6 2016

In September 2015, we installed a 32 fader S6/M40 in Airborn Productions, the Abbey Road Studios-based production facility operated by legendary music producer Giles Martin.

Evolutions S6 2015

In October 2015, we installed two 24 fader S6/M40s into Evolutions‘ new Berwick Street, London-based post-production facility.

Splice S6 2016

In November 2015, we installed a 16 fader S6/M40 in Splice, the Shoreditch, London-based post-production facility.

Dom Gibbs S3 2016

In January 2016, we supplied an S3 plus Mac Pro-based Pro Tools | HDX system to Dominic Gibbs, renowned film sound supervisor.

Halo Post S6 2016

In February 2016, we installed a 24 fader S6/M40 in Halo Post-Production, the Soho, London-based winner of the Broadcast Awards ‘Best Post Facility 2016’.


Sound 24 2016

In March 2016, we installed a 24 fader S6/M40 in Sound24, the Pinewood Studios-based winner of multiple OSCAR and BAFTA awards for their work in film sound post-production.

Want to book a test-drive of the Avid Pro Tools | S6 and S3 control surfaces? we offer demos in our Soho, London based ‘Steampunk’ studio facility, for further information please contact: soho@Jigsaw24.com or call: 03332 409 285.

DSpatial | The Immersive Revolution

DSpatial | The Immersive Revolution

DSpatial offers an integrated and seamless solution for next generation immersive sound production, which redefines the classical concepts of reverb, panning and mixing, unifying them into a single space and providing a new paradigm for the sound production and mixing for film and virtual reality. This simple but powerful paradigm let the engineers concentrate on the creative process and provides a tool to create and manipulate sound in a completely new way.

DSpatial 2016

DSpatial‘s key feature is a proprietary Physical Modelling Engine, which allows the user to realistically recreate real spaces and locate, move and rotate sound sources in real time, transporting the listener to a new, virtual yet realistic dimension, therefore magnifying the aural experience and recreating natural soundscapes that rival reality. Physical properties like the inertia and Doppler effects are created automatically by simply moving the sound sources.

DSpatial_S6_1200x750

Adding more and more channels increases dramatically the complexity of an immersive sound mix. DSpatial directly addresses this by simplifying the problem at its core. With its multi-touch screen DSpatial opens up a whole new field of creative possibilities for the film mixer and sound designer by empowering them whilst simplifying processes.

DSpatial is fully integrated with Avid Pro Tools and is compatible with all immersive or non-immersive formats. The mix is played back in every format without the need to downmix. The number of input and output channels is only limited by the number of interfaces and by the power of the host computer.

DSPATIAL logo

Jigsaw24 is proud to be the exclusive distributor of DSpatial in the UK. To book a test drive in our central London-based demo facility, please contact: soho@Jigsaw24.com or call: 03332 409 285.

Working with… film sound supervisor Dominic Gibbs

Working with… film sound supervisor Dominic Gibbs

Over the past twenty years, Dominic Gibbs has supervised the sound on a multitude of Hollywood movie blockbusters including Edge of Tomorrow, Legend, The Man From U.N.C.L.E. and Wrath of the Titans. Having just set him up with a new Avid Pro Tools | S3, we hung around and tried to wrangle a few free tips from one of the busiest and most successful sound supervisors around…

Dom Gibbs 01

Please can you tell us a little about your work and what your company does?
We provide sound supervision and editorial services to the feature film industry. This has included work on a large variety of both independent and studio pictures.

Along with my team of experienced editors, we supply sound effects, design, backgrounds, foley, dialogue and ADR to help build a dynamic and unique soundtrack to each project we undertake.

What does the role of sound supervisor involve?
I manage and supervise the creation of the film’s soundtrack. I begin by meeting with the creative minds behind the movie to discuss any ideas they might have for the soundtrack, and to try and build a concept for how they would like the movie to sound when it’s finished.

Throughout the editorial process, I work closely with the director and picture editor to ensure that my team are working towards the same collective goal. I will also spend time designing sounds for the film, and working with each department within the sound team.

What projects have you worked on in the last few years?
Since 2014 I have supervised Edge Of Tomorrow (Warner Bros), The Man From U.NC.L.E. (Warner Bros), Legend (Working Title) and Takedown (Pinewood Pictures). I’m currently working on Guy Richie’s Knights of the Round Table.

Edge of Tomorrow Poster

You have just installed a new control surface. Why did you decide on the Avid S3?
Our typical sessions are fairly large, so the S3 offers a great level of control in a reasonably compact surface. VCA spills and custom layouts fit well into navigating through our FX sessions.

You have also installed a new Mac Pro based Pro Tools | HDX system. Do you have any particular favourite features of the new setup? 
The new bounce features in Pro Tools 12 allow us to quickly export versions for each other and for the cutting room. Updates to the Mac make it easy to set up three or four displays, without the need for any additional video cards.

Dom Gibbs 02

What are the main benefits you’ve seen with the new system?
The Pro Tools| HDX/Mac Pro setup is a really quick system, so I’m rarely left waiting for much.

Does it allow you to take on anything your couldn’t before?
I don’t like to run massive sessions, but this system is much more stable than previous versions, which to me is far more important than the track count.

Any kind words for our team in Soho?
Jigsaw24 have always been a pleasure to deal with, they are well known for being the ‘go to’ guys in the post-production industry when it comes to system design and equipment supply – most of my team are customers of theirs too.

If you’d like to book a hands-on demo of the Avid S3, all you need to do is get in touch with our team at soho@jigsaw24.com. To find out more about our sound for picture solutions, get in touch on 03332 409 285 or at audio@Jigsaw24.com.