Liquid Channel becomes first choice for post-production
After setting the recording industry alight and winning countless
awards along the way (most recently a prestigious TEC award for Best Mic Preamp, the company’s fourth in that category), Focusrite’s Liquid Channel is now taking the post-production world by storm, becoming the must-have unit for voice-over and foley recording in many of the world’s finest post studios. Its flexibility and sound quality mean that it can be applied to a huge range of tasks, as these three facilities testify.
In London, Hackenbacker’s ultra-modern studios have attracted a host of different projects from huge adverts to the biggest movie releases including Kingdom Of Heaven, Beyond The Sea and Tim Burton’s Charlie And The Chocolate Factory. As re-recording/foley mixer, Nigel Heath states…
“I used the Liquid Channel to acquire sounds on Charlie And The
Chocolate Factory. It was selected for low noise operation, as with sometimes over 100 open tracks of recordings running simultaneously – often containing audio from quiet sound sources – the low noise floor is especially important.”
“The Liquid Channel also gives me an even broader palette to play with on my recordings – and I enjoy having the choice of tracking in either a wonderfully clean way or a more flavoursome touch by combining some of the more colourful devices on offer. It’s quick and sensible to use, and the joy of being able to have the creativity offered by, essentially, a huge stack of kit in one silent running rack-mounted device is fantastic!”
Slate Post Production is a new company located in the heart of Dublin. It has already completed work on The Festival Of World Cultures and Dublin’s O2 In The Park concert and has some huge campaigns lined up with Budweiser, BUPA and the National Lottery. Slate’s Locky Butler reveals why he’s bought four Liquid Channels and this time it’s for another important post task, the voiceover…
“The VOs that we record sound amazing,” he says. “The presence and warmth that you get are really noticeable. The fact that you can tweak the harmonics is great – you really get a unique sound. The first VO guy I recorded on it was blown away! He immediately came out of the room and asked what I was using!”
In all, it seems that the Liquid Channels at Slate really are helping
to fulfill Locky’s ambition to get a VO sound that no one else in
“They certainly have helped us achieve that,” he confirms. “I’m a firm believer in paying for good quality kit that delivers. The Liquids certainly do that and have proven to be a great investment. That’s why we bought four of them!”
Over in Frankfurt at Fundamental Studios, one of Germany’s biggest post-production facilities, Harald Guhn is also a huge fan of the Liquid Channel. He uses three units to record film and TV trailers and says they help him improve efficiency and workflow – just as well because he has a lot of hi-profile clients including Opal, O2 and Nestle…
“We are using it to record effects on commercials – it really comes into its own here,” he says. “Ad work is fast and sometimes you cannot foresee what a client wants but being able to switch between productions fast makes it easy and you are more relaxed. It’s difficult once you’ve used it [Liquid Channel] to go back using anything else!”
So, whether it’s for the great ADR and foley recording features, the low noise floor or the ease of use, you can see why Focusrite’s Liquid Channel is not just the recording engineer’s number one choice, but has now become the essential tool for post producers the world over.