— This is the hardest mix for a TV show I’ve seen; using the Eclipse/10M for monitoring and clocking my Protools HDX rig simplifies my job and gives me the greatest sound possible, mixing “in the box” —
I first had the opportunity to test Antelope clocks three years ago after meeting Igor Levin at the SATIS French audio/video event. I was immediately hooked by the audio benefits I got on a standard Protools HD with Digidesign converters: wider and deeper stereo image, lower audible distortion, improved response on transients. The next step was to buy a Zodiac+/ Voltikus bundle for home use to replace an Apogee miniDAC, then to listen to the Eclipse 384.
It was quite a revelation because of the accuracy and three-dimensional sound picture provided by this DAC. I’ve never heard such stereo width before and was equally impressed by its ability to reproduce faithfully the slightest volume change… It was love at first sight!
BIO: 中田 利樹
1961 年4月8日、東京都豊島区生まれ。青山学院卒業後音楽プロデューサー養成機関MPIを経て1985年、キング・レコードに入 社。 1988年に番組制作会社テレコム・サウンズに移籍し、その年に開局したJ‐WAVEの番組を制作。1991年に独立し、フリーの ディレクター、および音楽ライターとして活躍。J‐WAVEの9時間特番「In The Mood Of David Foster」(1994年)をプロデュースし、CDのライナーノーツも400枚以上担当する。1998年、自身のレーベル「Cool Sound」を発足。AORの再発を中心に180枚以上の作品を日本発売する(本データはこの書籍が刊行された当時 に掲載さ れていた ものです)
Antelope Audioは勢いよく２０１５年に入って、ラスベガスの コンシューマー・エレクトロニクス・ショー（CES）とロサンゼルス付近に開催されたNAMM ショーという世界最大規模の見本市の二つに参加させていただきました。
CESショーの際、Antelope Audioは世界的一流のスピーカメーカーのAmphionとショールームを共用しまして、世界で最も先進的な技術を用いた、ルビジウム原子時計を内蔵するAD/DAクロック兼コンバーターRubiconのフル生産の最新版に脚光を当ててきました。Antelope はZodiac Platinum＋１０M コンバーターの連帯も来客に紹介する機会がありまして、来場した皆様に大きく楽しんでいただきました。
— After many researches, I was told about a USB audio interface with 32 I/O for a very interesting price and a great sound, and that was what I was looking for —
I would definitely say that my workflow approach has changed a lot in the past two years. When I decided to move from Milan to Berlin, my intentions were to mainly carry on working with my clients in Italy. I still own a traditional recording studio in Milan, I use it almost every month, but after many years of work as a producer and mixing engineer, I began experimenting with different ways to do mixes.
In Berlin I started doing ‘online’ mixing, in the box, with my laptop, Pro Tools 11 and several plug ins. After more than a year, I realized that I wanted to finalize my mixes in different studios, to add ‘colour’ to tracks. I was missing the feeling of touching knobs and faders, and the mixes sounded too flat for my taste. Anyway, ‘ITB’ working has the big advantage to let you recall mixes instantly, and most of all, you’re no longer forced to complete the job in one day or two. Now that I’ve got more time to work, that possibility is very important for me. After many researches, I was told about a USB audio interface with 32 I/O for a very interesting price and a great sound, and that was what I was looking for – The Orion 32.
— Leman Music Masterclass chose Zen Studio Audio Interface for its recordings —
The Antelope Audio professional portable audio interface Zen Studio was used for recording the Leman Music Masterclass at the Conservatoire de Musique de Geneve. “Because of its portability, digitally controlled preamps and links for the stereo pairs, it was the obvious choice,” said the audio engineer David Trotti. The pristine quality of the resulting audio blew away Trotti and made the day of this yearly event.
Next, ACR’s Zen Studio teamed up with its ORION 32 brother for a redundancy recording at Geneva’s Victoria Hall of “Camerata Armin Jordan” with 112 musicians from the Orchestre de la Suisse Romande.