Mixes for soundtracks, Dennis Sands, engineer uses Focusrite converters Durante la planificaci n de la primera sala de mezclas en el mundo equipada con Dolby Atmos, el ingeniero de mezclas para bandas sonoras, Dennis Sands, descubri que RedNet 6 (un puente de MADI a Dante de 64 canales) ser a la soluci n perfecta.
Mientras se estaba equipando la primera sala de mezclas dedicada para m sica de pel culas del mundo equipada con Dolby Atmos, el premiado ingeniero de mezclas de bandas sonoras Dennis Sands necesit una soluci n elegante para conectar el procesador surround multicanal a su sistema de monitores. Cuando Sands y su asesores de dise o Ron Lagerlof, de Visioneering Design y Andy Potvin, de Dolby Laboratories, se enteraron de que Focusrite en breve iba a comenzar con la comercializaci n del Rednet 6 MADI Bridge comprendieron que hab an encontrado la soluci n, as que pidieron e instalaron una de las primeras unidades producidas.
Sands normalmente graba los proyectos de la m sica para las pel culas en las que trabaja en los principales estudios de Los Angeles y en el pasado ha tra do de vuelta muchos de estos proyectos hacia su estudio Sound Waves SB en Santa Barbara, a m s de 150 Km de distancia para mezclarlos. A finales del 2012 escuch un demostraci n del sistema de sonido surround multicanal Dolby Atmos y decidi que ten a que comenzar a mezclar m sica para pel culas con este nuevo formato inmersivo. Nunca he oido algo como esto. La claridad, la transparencia, la riqueza, la dimensi n y el contexto espacial que ofrece es incre ble. Supe de inmediato que esta seria la manera en que la gente oir las pel culas. Punto , recuerda.
Con la base instalada de sistemas Dolby Atmos, limitados a las estapas de regrabaci n, no ten a una manera de trabajar en est formato, comenta. Sands decidi actualizar su estudio con un sistema de procesamiento Dolby Atmos, haciendo al mismo tiempo una inversi n significativa en una nueva configuraci n de altavoces multicanal para soportar este formato. Pero todav a quedaba un reto por superar: Las salidas de Dolby Atmos Rendering y Monitoring Unit, el n cleo de procesamiento del sistema, utilizan conectores MADI pticos y coaxiales, pero las entradas del BSS London que Sands utliliza para gestionar su configuraci n de monitores y conmutar entre los los formatos multicanal acepta una entrada Dante.
La soluci n
Cuando Sands y su equipo oyeron sobre RedNet, que ofrece un puente bidireccional entre los 64 canales MADI y una red de audio basada en Dante se dieron entendieron que hab an encontrado su solucion: de todas las opciones, RedNet era la elecci n que sobresal a porque hacia el trabajo de una manera elegante, simple y con un precio muy razonable. Supon a una fracci n del coste de las otras opciones que habr an supuesto una combinaci n de unidades y cada vez que comienzas a combinar unidades existe obviamente la posibilidad de que falle, sea dif cil o confuso.
Tal y como Sands comenta, cuando est bamos discutiendo al principio como conectar toda esta tecnolog a en mi estudio RedNet 6 no estaba todav a disponible, as que la unidad que compraron ser a la primera que ver an. Tan pronto sali , la fe del equipo en la marca Focusrite y la reputaci n de la compa a durante las ltimas tres d cadas demostr estar totalmente justificada. Tengo la unidad n mero uno, informa. Ron la compr en GC Pro, la conect y funcion a la perfecci n. Es el dispositivo perfecto para este uso. Es simplemente que esta caja de excelente aspecto que ocupa una unidad de rack vuela. Es una parte absolutamente integral de la cadena de se al.
Gracias a las posibilidades plug-and-play de las redes de audio Dante, RedNet 6 fue muy f cil de instalar. No hubo ning n tipo de problema comenta Sands. No hubo configuraci n, no hubo curva de aprendizaje; simplemente se conect y funcion .
El uso de cables Cat 6 tambi n facilit la instalaci n en un suspiro. Es una nica l nea. Es elegante, simple y f cil de trabajar. Y los cables Cat 6 son relativamente baratos: Es una de las cosas m s grandes del mundo electr nico, en serio. La calidad mejora, el precio baja y Rednet encaja perfectamente en esto, indica Sands.
Sin RedNet 6 no podr a estar en el aire con Atmos. O, al menos, habr a sido mucho m s complejo y m s caro , reconoce Sands.
Este ingeniero de mezclas ha trabajado en cerca de trescientas pel culas como mezclador de bandas sonoras junto a dos docenas como mezclador de regrabaciones, consinguiendo cuatro nominaciones a los Oscars (Polar Express, Naufrago, Contact and Forrest Gump) y ganado dos premios CAS.
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Mixes for soundtracks, Dennis Sands, engineer uses Focusrite converters Durante la planificaci n de la primera sala de mezclas en el mundo equipada con Dolby Atmos, el ingeniero de mezclas para bandas sonoras, Dennis Sands, descubri que RedNet 6 (un puente de MADI a Dante de 64 canales) ser a la soluci n perfecta. 
