We had worked with him on another project in Marina del Rey that was very successful, prior to this project. Jim: I’d known Reid for quite a number of years, knew his skillset, and the type of client base he worked with. It was in Santa Monica in the early 2000s, but by 2005 I got out of the business, because it was just changing too much and I swore I would never do another facility again.ĭavid: So Jim, when these gentlemen came to you with this project, what was your overview of everything at that point? Because I’ve done this before and I’ve had my own facility before. But the very, very first thing I did, even before Chris and I got in touch with each other, was I went to Jim to talk to him about what he thought about the liability of doing it. I kept putting it off and putting it off, but eventually I went looking for a business partner, which I found in Chris Davies. I had clients who had been saying for years that I should do my own thing and if I had my own space they would they would bring their work to me. This is even before my business partner Chris Davies and I knew each other. I first got in touch with Jim, and told him what I was thinking about doing and asked if AID be interested in helping us. Reid: Right from the start in October of 2016. And when did Jim Pace at AID jump into the picture? You first bought the building and gutted it and now everything’s new. Reid: We’re running Audio over IP (AoIP) for this facility, using Dante as our protocol, and tying one room to another is simply a matter of cross-patching a network in the machine room.ĭavid: After purchasing the building and gutting it, you’ve been in business now since April, 2017. There are four control rooms three are paired with voice recording spaces, and we have one dedicated mix room, which is fully-certified for Dolby Atmos at home, a mix room that is not paired with a specific recording space, but obviously, we can tie through and interface from any room to any other room.ĭavid: And how do you tie them all together? And we were impressed at how it all came together in just a six-month period, to secure certification and being up and running and all that entails.”Ī Conversation with Reid Caulfield and Chris Davies of Central Post and Jim Pace, President of Audio Intervisual Design, conducted by David Goggin below…ĭavid: How many rooms do you have here at Central Post LA? Managing Partner, Chris Davies, summed up the installation, “We’ve had a fabulous experience with Jim and his team at AID. Integration: Jim Pace and the AID team worked closely with Central Post LA, beginning with a search for the proper location in 2016 through the completion of the entire operation in 2017. The other can accommodate five to six people comfortably. One of them can accommodate three or four people comfortably. Three of the control rooms are paired with voice recording rooms. A Tx-Rx Invert cable is required to link the 15pin 'D' connectors on the D-Command and the TMC, I will a add the details to the TMC-1-Penta Manual next week after I have installed this system in a 7.1.4 room at Pinewood.Project Scope: Installation of the four control rooms, three recording spaces, and the machine room. There are no tallies in the X-Mon protocol but the meters are visible on both and all commands from the D-Command work as expected. I finished and tested the software this week using a TMC-1-XMon to emulate the D-Command. On my return trip the flight was delayed (as usual) I used the time to prepare the software required to connect the TMC-1 as an interface between the DAD AX32 and the Avid D-Command console or even S6 console. Even when I forced a disconnection the TMC-1 reconnected gracefully and continued working. I am happy to say the the TMC-1 performed well. Last week I went to see NTP at Copenhagen in order to stress test the TMC-1-Penta Ethernet connection to prove that the connection between the TMC-1 and DAD AX32 would remain working under high load conditions.
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