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LAVRY ENGINEERING ON THE SOUNDSTAGE: FILM MUSIC EDITOR
TOM CARLSON CHOOSES LAVRY CONVERTERS
64 Tracks of LavryBlue Extreme D/A Transparency on Call for Major Motion Picture Productions; LavryGold Racks Up Top Hollywood Credits
LOS ANGELES: After more than two decades and 100+ feature films, Tom Carlson stands as one of Hollywood’s true go-to music editors. With track counts constantly on the rise, the extreme transparency and reliability of an editor’s D/A converters is more essential than ever, leading Carlson to rely on the LavryBlue and LavryGold from Lavry Engineering (www.lavryengineering.com).
“As a music editor, you want to have gear that’s going to accurately reflect the mixer’s production so you can hear the details of the score exactly the way they were recorded,” Calson says. “The LavryBlue accomplishes that. They’re very neutral, with plenty of punch in the bass and pristine resolution in the high end.”
For working in Hollywood, Australia, or other film centers around the planet, Carlson has 64 tracks of LavryBlue conversion on hand to accommodate wide scores that have included the recent hits Happy Feet and Horton Hears a Who. “The criteria for my converters are high resolution, as well as a tonal accuracy that is easy to listen to,” notes Carlson. “The transparency of the LavryBlue is important, but the reliability of my gear is also a huge factor – you’ve got to have both. You can have the most reliable piece of equipment in the world, but if it doesn’t sound great, it’s useless.”
With his LavryGold AD122-96MKIII A/D converters on hand, Carlson’s impressive credits have included Rules of Engagement, End of Days, Blade, I Know What You Did Last Summer, and Kiss the Girls. The LavryGold AD122-96MKIII features -127dB dynamic range (unweighted), with 0.00005% Total Harmonic Distortion + Noise, Conversion to 24 bits, built-in Acoustic Bit Correction re-dithering to 16-20 bit formats, and much more.
The LavryBlue Modular A/D D/A Conversion System provides 44.1, 48, 88.2 or 96kHz sampling frequencies. Featuring Lavry’s exclusive αβC αcoustic βit Correction®, CrystalLock™, and wide vari- speed operation, the LavryBlue can be configured in 2 to 8 channels A/D, D/A or a combination of both, and is also available along with MicPre modules in one space-saving unit. The LavryBlue’s A/D cards allow the selection of various word lengths, Analog or Digital soft saturation, and dither with αβC αcoustic βit Correction® noise shaping. Other features include LED metering, reference meter mode, peak detection and front panel gain control. Lavry’s extremely transparent conversion may use internal crystals or externally lock to Word Clock or AES signal.
Carlson’s 64 tracks of LavryBlue converters go mobile in travel cases with four LavryBlues in each rack, doing duty as the output of a multitrack for scoring orchestras, or to an analog desk from a DAW for music mixdowns. “In our profession, we’ve gone to much wider mixes, so there are now many more tracks to deal with,” says Carlson, whose credits also include Bourne Ultimatum, Mr. & Mrs. Smith, Nell, Arachnophobia and dozens more.
“There’s much more detailed work going on at a faster clip,” he continues, “so organization becomes increasingly important as time goes on. You need gear that will be extremely reliable and be a transparent part of the process, and that’s where the LavryBlue comes in: It never gets in the way of the mix -- it only helps.”
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About Lavry Engineering:
Lavry Engineering, located in Poulsbo, Washington, was founded by digital audio expert Dan Lavry in 1993. The company specializes in products for professional audio, broadcast, audiophile and surround markets designed to satisfy the growing demand for hi-res digital audio performance. Lavry Engineering’s Gold, Black and Blue product lines offer a range of systems accommodating a wide range of budgets and applications. For more information, please visit www.lavryengineering.com.
All referenced product names are trademarks of their respective owners.
