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We’re here with Alan Meyerson.
and Monty Meyerson! [his dog]
And we’re at remote control, doing a little mixing.
Can I tell them it’s Batman? - You can tell them it’s Dark Knight.
So, you gave us a great interview
for a press release about your use of Antelope Products. Can you just tell me what they’ve
meant to you,
and the work that you do? - Well, the initial reason I got my first
Antelope Product was
when I had my studio at home
I was having a lot of clocking issues in terms of just making everything work and
be solid - and it was suggested to me that I try an Antelope
and the minute I put it in, everything just started working and then as a plus,
everything sounded better.
You know, just…
whatever my ear defines as jitter in imaging issues
sort of, just
came together and was instantly better
- and I immediately told all my friends about it and pretty much everyone I know
immediately got an Antelope. So then,
I had that in my system and
when I built this room,
I took it up to another level professionally, where I was not only
doing my own
personal projects, but I was doing, you know, outside projects and larger
projects for outside clients and just more grand things and it became
necessary for me to be able to run multiple sample rates
and I couldn't do it in the system I had set up. So,
it was suggested that I put in the Trinity and I did that and I'm just…
I’m rockin’ now.
Actually, at the moment running 96k,
48k and 44.1k all at the same time.
So, how does this related to the final product? What do you hear that comes through,
in the theater for viewers?
Well, I mean it relates to the final product in many ways – One: just the
quality of the clock
is incredibly solid and a much
superior clock. So when you have solid clocking, it's pretty much, imagine if
you had two images
(for those of you who know this, I’m sure you know this) If you had two images and
you’re overlaying them
and they're slightly offset
when you have clocking that isn't
up to par, it's very hard for them to catch up and get totally in sync and those
are the words, the digital words,
where with the Antelope (gear)
I found that,
that image - it was like laying two images perfectly over one another,
so that when you look at it, you'd see a perfect clarity.
The edging is there and if you imagine the visual as an auditory experience,
it’s literally that:
where the edging becomes perfect, the imaging, the left and right, the spatial
dimension becomes more perfect because you're not
actually having things interacting with each other that aren’t perfectly in sync.
It basically synchronizes everything
audio-wise and so that makes a huge difference in terms of
film or any kind of music production or actually any kind of audio production.
And then, the reason it makes a difference in my world also, is the fact that
it's such an advance clock it gives you options that you don't have with other
clocks, which is again, running multiple sample rates which is being able to
have more things than one going on at the same time.
You describe the audio in such visual terms.
Do you think that, you know, relates
even more so with a large picture, in a large theatre?
Oh, most definitely, and especially and not only that
with orchestral recordings, where you're dealing with multiple microphones,
multiple tracks where there's plenty of room for error,
things coming from different rigs…
That's the thing you know, I'm running four or five protools rigs at the same time.
So, imagine if
you have something on one rig and then something similar to it on another rig
and they're running
almost perfectly in sync,
to the point where you really wouldn't hear a difference, but then imagine taking
those two things and just absolutely dead lining them up
and all of a sudden
you know, if you imagine two snare drums
hitting almost at the same time and you get that
‘flam’ that happens.
It's still a good sound, but the minute you get those transients to hit
exactly right
it becomes so much better and that's what good clocking is.
That's the difference between
a good clock and an average clock and that's why I personally believe that
clocking is way more important than sample rate. It's way more important
than converters, because if you have a good converter with the perfect clock
you’re gonna have a much better sound
than a perfect converter with a good clock.
So everyone's going to ask this, so I’m kind of asking this question again, in a way.
Does the audience benefit?
I think the audience benefits from everything that happens to them,
subconsciously and consciously,
so that when something, when a performance is able to translate itself
as a more powerful performance
that the audience relates to that. They might not be hearing “Oh wow!” listen to
how great that percussion sounds on the left and that cello sounds on the right,
or in a rock record, listen to how clear that vocal is in the centre, or whatever.
They might not be relating to it like that but, what it does is it increases
the emotional impact
because there's just a quality to the clarity
that you don't get when you have something that's not really
quite as perfectly synchronous.
Thank you very much Alan. -My pleasure.