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PAUL SANDWEISS KEEPS TV AUDIO SOUNDING GREAT —Engineer Rolls With the Changes in the Complex Art of Live Broadcasting— HOLLYWOOD (February 1, 2001)—"We had our fair share of dancing, costume changes and pyrotechnics—and some audio," recalls recording engineer Paul Sandweiss, reflecting on his recent mixing gig at the American Music Awards, held January 8, 2001 at the Los Angeles Shrine Auditorium. "That's all in a day's work."
The 25-year plus industry veteran, now a household name in the world of live television broadcast mixing, has watched the nature of live performances for television become more complex, with elaborate sets, intense choreography, intricate lighting and special effects—as well as challenging audio requirements—all of which raise the ante for design and technical professionals. He credits his longevity with being able to adapt in a landscape of ever-changing technology. "Audio and TV technology are constantly evolving entities," Sandweiss explains. "In this business, you've got to be flexible." Sandweiss got his start as chief engineer of mobile operations at the venerable Wally Heider Recording, and now owns Hollywood (CA)-based Sound Design Corporation, a full audio production facility that specializes in recording and mixing music for live broadcasts, awards shows and concert specials. The one-stop shop handles pre-production, creation of packages for playback, plus onsite recording and mixing. Sound Design has an impressive arsenal of audio equipment that Sandweiss and company take into the field, including t.c. electronic M3000, M5000 and DB Max; Eventide H3000; Lexicon 200 and 300; Summit limiters and compressors; and JBL LSR28P monitors. Three daisy-chained Yamaha 02R digital consoles, which feed to 48 digital tracks, are utilized for recording and mixing. "The scene recall function of the 02R is essential when going from band to band in a live situation," he explains. The Yamaha 02R offers features that include real-time automation with snapshot memory and instant reset of all console parameters, including control of its internal compressors and effects. "Out in the field," Sandweiss continues, "reliability is key. The 02Rs have been bulletproof for us. Sound Design owns 11 that have been in service since 1996, and they have never been a problem on any of the shows we did. What's also nice is that they allow you to consolidate your mixing area, and that can also be critical when you're doing TV." The 02Rs are also used to record and play back rehearsals, which allows the engineer to make changes and save them in memory for use in the live broadcast. "You'd be amazed at how many artists want to have that control," he adds. "They'll make notes in the dressing room after listening to a rough cut of their rehearsal and want you to make adjustment to the mix." Recording is handled by a variety of devices, all compatible with the 02Rs via AES and TDIF interfaces. These include Tascam DA87s, DA88s and DA98s, as well as Otari RADAR and Sony 3348. Sandweiss is also looking into the possibility of adding a Fairlight Merlin 48-track hard disk recorder, which would be compatible with the studio's MFX3plus editors. Sandweiss' attraction to television began after his stint at Heider. Since then, his straightforward business attitude and integrity have afforded him the good fortune of picking and choosing his projects, which, in addition to The American Music Awards, include The Billboard Music Awards, Jerry Lewis Muscular Dystrophy Association Telethon, Arista's 25th Anniversary, The Blockbuster Awards and Lifetime Television's breast-cancer benefit, Women Rock: Girls With Guitars, among others. "A lot of audio engineers seem reticent when it comes to embracing new gear and technologies," he says. "They tend to get comfortable. Of course, I have my preferences, but I am, and will always be, looking for new things."
© 2001 Yamaha
Corporation of America |
