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The Lexicon 960L helps position audio mechanics mastering for the coming high-res/multi-ch- Film and music restoration projects, classical recording Audio Mechanics finds the Lexicon 960L is a pivotal tool for the present and the future -For nearly a year, Los Angeles mastering facility Audio Mechanics Mastering has used the critically-acclaimed Lexicon 960L Multi-channel Digital Effects System. Co-owners and mastering engineers John Polito and Doug Schwartz have found their 960L to be the ultimate tool for a multi-channel music universe that is constantly expanding. Polito and Schwartz agree that their 960L is every bit the match of its predecessor, the legendary Lexicon 480L. "The Lexicon 960L is a fantastic system," says Polito. "I always loved the way the 480L sounded, and the 960L is everything we loved about the 480L, only more so, thanks to its multi-channel operation and high-resolution sound. It's like having four Lexicon 480L units in a single, parallel unit. As a result, there was no learning curve to the 960L. Just that great Lexicon sound - nice, smooth reverb tails and dense, natural-sounding rooms - that we've enjoyed so much in the past on other projects." In addition to the great sound of the Lexicon 960L, its multi-channel operation is critical to Audio Mechanics Mastering for positioning the company at the leading edge of the continuing multi-channel music revolution. Audio Mechanics Mastering has specialized in film and music restoration projects - the latter including work for major film studios Fox, Sony Pictures and Disney - as well as music mastering on projects ranging from rock to classical. In all media, six- to eight-channel audio reproduction has become standard, and the Lexicon 960L applies its legendary reverb magic to all of them at Audio Mechanics Mastering. For music mastering in particular, the Lexicon 960L has helped give the company an edge in the multi-channel domain, thanks to its eight-channel capability and also its ability to operate at sampling rates up to 96 kHz, where most of the DVD-Audio projects will be specified. One project that the 960L found itself perfectly suited to is the forthcoming DVD-Audio release of classical guitarist Christopher Parkening's rendition of a new concerto, custom-written for him by Elmer Bernstein, on Angel Records. "The piece was recorded in London, at 96 kHz, and we wanted to keep it at 96 kHz all the way through the mastering process," Polito explains. "The 960L helped us reproduce and bring out every nuance of that performance." Another example of how the Lexicon 960L speeds the recording and production process is a new piano concerto recording by Lukas Foss on Hamonium Mundi Records. "The CD is already out, and no firm decision has been made yet on a DVD-Audio release," says Polito. "But the artist and the record label know that we can create one on short notice, and with extremely high resolution and fidelity, in part because we have the Lexicon 960L on hand." On projects calling for the restoration of music for films, Polito and Schwartz have used the Lexicon 960L to do critical esthetic tasks such as lengthening end-title music cut short in the editing process prior to the film being cataloged. "It's a very versatile system," Polito says of the 960L. "But the things that really stand out about it are how good it sounds, and how it helps us position ourselves in a very practical way for the next step in music mastering: high resolution sound and multi-channel operation. The 960L is the perfect tool for that job." + Post comment/question/reply
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