SAE Magazine 13-3

INDEX y difficult to find an appro- hat would combine great b time and a large room nd film equipment with up neously. y we are using different ing sessions to optimise ion and to bring all those n studio complex that will dios will combine the best will be optimised with all ecord any style of music, a rock or electronic band.” means a combination of s from the last 60 years tal equipment. Ulli added: “In our recording chain we use all kind of microphones, microphone pre-amps, filters, com- pressors and EQs into ProTools HD up to 192 KHz, 24 Bits. “Experience is the key, I use my know-how as a sound engineer for the last 25 years to always adapt the right gear to a specific instrument or singer. “A typical chain could be a Brauner microphone into a Telefunken V72 from 1950 (Tube microphone pre-amp) and a Urei 1176 compressor from the 70’s followed by a Neumann EQ to the Pro Tools HD system.” Over the last 20 years Ulli has collected a lot of special analogue equipment that make the atmos- phere sound unique. And it is a challenge to keep these old machines in a top and reliable condition, but as an electronic technician Ulli is able to restore and align these very rare gears. Ken Carroll, who is based in Cork Ireland, leads the technology department. He has developed the atmosphere platform as the first plug and play 4K media server based on an Ap- ple MacPro and OS X operating system. ➤ Foyer installation at the InterContinental in Nanjing. sound installation in a hotel lobby.

SAE Magazine 13-3

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