Blogs
Originally featured on BroadcastEngineering.com
Feb 15

Written by:
2/15/2012 8:44 AM  RssIcon

— M3’s “Eclipse” and “Horizon” remote recording trucks handle the 5.1 surround audio broadcast, utilizing Genelec DSP Active Monitors —

NATICK, MA, February 14, 2012 — M3 (Music Mix Mobile), a New Jersey/California-based remote facilities company combining the talents of award-winning production professionals and state-of-the-art audio solutions, is a collective consisting of industry veterans John Harris, Jay Vicari, Joel Singer, Mitch Maketansky and West Coast-based partners Bob Wartinbee and Mark Linett. On Sunday, February 12, 2012, M3 was commissioned to capture and mix the music audio for the 54th annual GRAMMY® Awards, broadcast live in 5.1 on CBS-TV from the Staples Center in Los Angeles. In the company’s dual “Eclipse” and “Horizon” trucks, the GRAMMY Award Show Broadcast Music Mixers John Harris and Eric Schilling, along with M3 Engineer-in-Charge Joel Singer, were on site to ensure the audio would be of the highest quality, and they chose Genelec 8200 Series Active DSP Monitoring Systems. Genelec DSP systems consisting of 8250A Bi-Amplified Active DSP Monitors (in an L-C-R array) and 8240A Bi-Amplified Active DSP Monitors (L-R rear), along with 7260A Active DSP Subwoofers, were used in M3’s Eclipse truck for the live music mix, as well as in the identical mirrored system in the Horizon offline remix truck.

The team responsible for the audio at this year’s GRAMMYs again included a who’s who of broadcast audio. The broadcast music mix was handled by Harris and Schilling and was supervised by Hank Neuberger, a prominent member of The Recording Academy® Producers & Engineers Wing®. ATK/Audiotek provided the sound system with FOH (front-of-house) Engineers Ron Reaves and Mikael Stewart.

In the days leading up to the awards ceremony and broadcast, the night’s performers rehearsed their segments live on the stage, with Schilling and Harris developing the mixes in real-time in the Eclipse truck and then going over those performances offline while playing them back for artist managers and the artists themselves in the Horizon truck. Together, they prepared for the live broadcast mix, so it was vital that both trucks had a world-class, consistent monitoring environment.

John Harris stated, “Year after year, Genelec Active Monitoring continues to be the industry standard for high-end monitoring solutions, without question. Their performance is totally consistent show after show, and the sound is the most musical we’ve ever used. With the ability to optimize the surround speaker field with the DSP technology, Genelecs offer the peace of mind of knowing our monitors are exactly what we need them to be.”

The Genelec 8200 Series Bi-Amplified Active Monitors employ the company’s proprietary DSP (Digital Signal Processing), GLM™ (Genelec Loudspeaker Manager software) and AutoCal™ (Automated Calibration software) technologies, which together create a self-calibrating monitoring solution that both guarantees accurate audio and ensures a steady-paced workflow. This, combined with M3’s long-time use of Genelec active monitors, made the Genelec DSP monitors an easy decision.

For more information, please visit www.genelecusa.com .

Photo File: Genelec_M3_GRAMMY12.JPG

Photo Caption: Broadcast Music Mixer John Harris in the M3 Eclipse truck, which features a Genelec Active Monitoring system including three 8250A Bi-Amplified Active DSP Monitors in an L-C-R array (pictured) along with 8240A Bi-Amplified Active DSP Monitors (L-R rear) and 7260A Active DSP Subwoofers. (This photo is the property of Yu Howe/Clyne Media, Inc., and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

Tags:
Categories:
Location: Blogs Parent Separator BE Blogs

Your name:
Gravatar Preview
Your email:
(Optional) Email used only to show Gravatar.
Your website:
Title:
Comment:
Add Comment   Cancel 




Thursday 10:05 AM
NAB Requests Expedited Review of Spectrum Auction Lawsuit
“Broadcasters assigned to new channels following the auction could be forced to accept reductions in their coverage area and population served, with no practical remedy.” ~NAB


 
Featured Articles
Research & Standards
Sony To Debut Smart Glass Clip-On
Discover TV Technology