by Robert Dugan, Sound Engineer
I‘ve personally used Antelope Audio in the Live Sound domain. At first, I was skeptical of how much clocking could really change the sound, especially since I was using a digital console. But after the unpacking and setting up, it was all ready to go within five minutes and, if I would have known how I was going to react, I would have prepared a little better.
Upon hearing Deftones “Digital Bath,” it seemed like the PA had come alive after sleeping for years. The drums were lifelike and it sounded like I was listening to the Deftones right in the rehearsal room. Immediately, I thought that the clock couldn’t be doing all of this, so I unplugged the BNC from console to Trinity. The sound seemed to escape and it reminded me of listening to the song through iPod headphones – thin and one road.
Plugging the BNC back in, I realized how powerful this unit was and instantly became hooked. I immediately noticed how the low end came to my chest and the stereo field seemed to engulf me with its presence; I felt surrounded by these microscopic vibrations that we know as sound.
After extensive use, I started to use my 10/M & Trinity combo in more ways than I could imagine. I started clocking not only my console, but my Processer Unit as well. While most Lake systems are clocked at 98k, my console was clocked at 48k, which was my first experience with having the Trinity really coming into play. Another festival show, another engineer had the same console, so I clocked his console along with the processer and mine all at once. I noticed immediately my room EQ’s were less drastic and were very precise. I was literally only cutting error frequencies for the acoustics of the room. My mixes came to life and my low end was punchy and round while my top end had sizzle but not knife stabbing in the ear. My effects were dreamier and, when I think about it, it completely makes sense why this all happened.
The clocks were making sure every single input was SYNC’d up all the way to when the speakers vibrated. The 10M glued my Processor and Inputs to make sure the speakers vibrated at the same time, which really explains why the low end seemed bigger.
Think about dropping a rock in the water. If you dropped a second rock a couple of milliseconds after the initial drop, the ripple will not be as big. But if you drop two at the same time, the ripple will be bigger. (More time alignment but having clocks to assure the timing is more accurate means bigger low end).
I’ve also had the opportunity to clock monitors for In Ear Monitors. It was the same mix that the band used, but when I plugged it in they all immediately asked me what I did differently. They were saying how much bigger it sounded and how well polished the mix was. As an engineer, I know it’s the tools that you have in your tool box that help you color the sound – Antelope Audio will always be in my toolbox for as long as I can have it that way!
Robert has been interested in audio from a very young age and decided to pursue a degree in Audio Engineering. He graduated from SAE Institute of Technology with an outstanding 4.0 GPA.
Immediately following, he went on tour all over the world as a Tour Manager, Production Manager, Front of House Engineer, and Monitor engineer working with Grammy winning artist to small bands still trying to make it.
Since August 2011 Robert has been working as Production Manager and Front of House Engineer with Mike Posner.