Fairlight US - Provider of Professional Audio Production Solutions

Fairlight Brings The Comfort of Reliability to The Opening of World Expo 2010 in Shanghai

With over 70 million people - almost all of them Chinese - expected to visit World Expo 2010 Shanghai, it was imperative that the opening ceremony for this extraordinary event went without a hitch.

Billed as the most spectacular outdoor multimedia display in history, the opening ceremony for World Expo 2010 Shanghai took place at the end of April and pushed the boundaries of technology to its limits. The extravaganza made non-stop use of fireworks, sound and light, with numerous elements such as mobile fountains, laser projections, and the world’s largest LED screen.

4 Xynergi's - 2 Sidecars and lots of Monitors

Australian production company David Atkins Enterprises (DAE) worked alongside Expo organizers to handle all aspects of the ceremony including the live and broadcast audio, which was sent to television stations around the world. And among the equipment chosen for this task were two identical Fairlight playback systems each consisting of two Xynergi controllers, two workstation PCs, two SX20 I/Os and a Fader sidecar.

DAE’s music editor and playback engineer Steve Logan says: “In any live event, but especially one of this magnitude and importance, reliability is paramount. This is why we always choose Fairlight for our audio requirements – because we know that, with Fairlight, we simply wouldn’t have any problems.” Logan adds that Fairlight’s ability to edit directly on the playback system really came into its own during rehearsals and production as it enabled very fast turnaround. “We also like Fairlight’s MADI capabilities as linking multiple systems and routing signals is much easier using single coax cables as opposed to what would otherwise be large quantities of multi-core cable,” he explains. “Fairlights also have powerful and flexible synchronization features that can be accessed in real-time during playback, as well as very fast response transport controls, which are essential for synchronizing with live action. Another benefit is the internal Bussing, Patching and Mixing as this allows for a highly customized configuration.”

Steve Logan at the Helm

Broken into three Acts – Welcome To China, Harmonious Gathering and Celebration - the Outdoor Ceremony of Expo 2010 Shanghai took place on a ‘stage’ that stretched 3.2 km along the Huangpu River, crowned on either side by the Lupu and Nanpu Bridges. The music featured a drum prelude by A R Rahman, who won a 2009 Academy Award for Best Music for Slumdog Millionaire; Overture from The Spring Festival Suite by Huan Zhi Li and performed by the Shanghai Philharmonic Orchestra and Peng Cao, and The Dragon, by Academy Award winning composer Vangelis. Alongside a selection of classical pieces, there were also musical contributions from Zhao Guang, Peewee Ferris, Chen Gang, He Zhanhao, Zhen Lu, Wang Xilin and John Adams.

Logan adds that the complex nature of the audio production meant that a temporary studio needed to be constructed at the Expo site. “The whole show was synchronized from the Fairlights, with Timecode sent to Lighting, Video, Lasers and Fountain control. We also sent FSK (Frequency Shift Keying) tracks from the Fairlights to set off all the Fireworks.”

DAE has extensive experience of handling complex events of this nature, having previously being involved in the opening and closing ceremonies for the Winter Olympics in Vancouver, the Opening and Closing Ceremonies for the Sydney 2000 Summer Games and the 15th Asian Games Doha 2006, in Qatar. “It certainly helps when you can tap into previous experience,” Logan says. ”And it also helps when you have faith in the equipment you have chosen because you’ve used it often enough in the past to know it won’t let you down.”

www.AudioProNetwork.com

FairlightUS would like to suggest a great new site that is turning the Social Networking industry on its ear. (Pun intended.) Audio Pro Network. AudioProNetwork.com Membership is free, but you MUST be a professional Audio Engineer, professional Mixer or professional Sound Designer to be a member. To ensure this, all members are vetted by sharing information, which is then validated by the dedicated Audio Pro Network staff. AudioProNetwork.com is a unique networking tool that brings the most important functions of online networking, exclusively to Audio Professionals. If you’re interested in making professional connections, combined with opportunities for discounts on products and services, visit AudioProNetwork.com

NAB 2010 - A Great Success for FairlightUS

What a fantastic show at Las Vegas for FairlightUS, we have some great products for 2010 that deliver exactly what our clients need. We have without doubt the fastest Post-Production system available today with updated tactile surfaces to boost productivity even further. The launch of EVO at NAB has resulted in SIX console sales for immediate delivery. Over the next few months you will see and hear a lot more about EVO and it capabilities. We wish to thank everyone who attended the show. Our next show in the USA will be AES in San Francisco, November 5 through 7. Don't wait that long, contact us today for a demo of this outstanding system.

Philippe Guichard - Steve Rance - Rod Revilock

Production Consultants Invests in Fairlight Xynergi

St Louis-based Production Consultants has become the latest high-profile studio to invest in Fairlight’s powerful Xynergi Media Production Centre.

The studio was set up in 1986 and is owned and run by award-winning audio expert Bill Schulenburg, whose long and impressive CV covers four decades in the industry and includes working with artists like Stevie Nicks and Manfred Mann; designing and editing sound and pictures for a huge variety of hundreds of TV, radio, videogame, film, theatre and audiobook projects; teaching Audio Aesthetics as an adjunct professor at Webster University; working as a popular voiceover artist; and last, but not least, currently serving as Chairman of the St. Louis Section of the Audio Engineering Society.

The new 64-channel Xynergi augments a Fairlight Prodigy system that Production Consultants has run since 2001.

“The file-handling and management features of the Xynergi are major steps forward in taking on a wide variety of work in media of all kinds.” says Schulenburg. “Xynergi’s hassle-free drag-and-drop ingest of material generated by all the different types of recording, camera, editing, and processing systems quickly brings audio and video together in a straightforward, unified workflow. Xynergi also streamlines the task of delivering the final product, both audio and video, in the client’s preferred format with unparalleled compatibility and interchangeability.”

The Xynergi Media Production Centre organizes and delivers all the media processing tools needed for high-end audio for video production in all widely used surround formats. The system is based around a completely new concept in tactile control harnessing the awesome ‘green’ processing power of Fairlight’s CC-1 digital media engine and Fairlight’s integrated PyxisTrack video. The system features the groundbreaking Xynergi controller, a revolutionary desktop user interface used to access all features and functions of the Fairlight CC-1 as well as commonly used Windows applications.

Schulenburg is an admirer of the Fairlight editing model, which he says has proven itself efficient, robust and reliable, with a real tactile relationship to creative flow and sound quality. “We’ve always been easily able to artistically relate to the Fairlight system as more than just simply a computer that processes audio signals,” he adds.

The Production Consultants installation is an impressive one. Three XE6 fader sidecars have been placed alongside the Xynergi MPC in a custom console designed by Missouri-based Argosy Consoles.

“Having honed our craft in the 60s and 70s, we appreciate the ability to “perform” an audio mix in realtime,” says Schulenburg. “Getting our hands on the sound and artistically interacting with it is an important part of our ability to deliver a creative, value-added service to our clients, while maintaining a high degree of personal satisfaction and fulfillment. The XE6 sidecars’ cost-effectiveness will allow us to have more channels of tactile control than our current system, and the bright, clear OLED displays provide instant, continuous, and comprehensive feedback about each channels’ status, enhancing the production process.”

Production Consultants’ clients work with all kinds of media projects, but Schulenburg argues that precision editing, creative mixing and powerful sound design for radio, television, and internet delivery has been the heart of his business for years. Additionally, he expects that the video capabilities of the Xynergi system will allow them to return to the video production market offering “unmatched” file conversion, editing and sound design services to go along with their deep experience in visual communications. He also points out that its comprehensive encoding features make the Xynergi an excellent tool for generating internet content

Finally, Schulenburg thinks that the Xynergi will also help Production Consultants move more firmly into the mixing and mastering space, referring to it as “the icing on the cake.”

“Our music production experience, along with the multiple fader sidecars and project compatibility exhibited by the Xynergi system will comprise an attractive and comprehensive mixing and mastering solution for music producers who do their basic work in less powerful DAWs and are looking for that final professional polish for their projects,” he concludes.

EVO in the Press and Reviews

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Fairlight unveils EVO at NAB 2010

With the new EVO system, which will be on show for the first time at the NAB 2010 Convention in Las Vegas (Booth C1739), Fairlight wants to deliver high end console power with cutting-edge affordability.

EVO 3 Bay Console

“EVO is a major development for Fairlight, one that continues the path started by FAME, Prodigy and Constellation,” says Tino Fibaek, Fairlight’s General Manager. “Although these products already offer our customers an integrated audio and video solution, we wanted to refine and enhance the mixing part of that system so that we could improve usability. With EVO, we have achieved exactly that – a console that not only addresses the convergence of audio and video, but also delivers large format mixing functionality within the small surface footprint that is typical of post production consoles.”

EVO makes full use of recent innovations from Fairlight including Crystal Core Processing, the SX range of I/O options, and Xynergi self-labeling key technology. In terms of design, the emphasis is placed firmly on giving users fast access to mixing tools. This is achieved through the innovative use of rotary encoders and touch screens that combine to deliver in-line controls and detailed full-color displays for every fader. The center section is designed around Fairlight's revolutionary Xynergi keys, for full tactile control of recording, editing and mixing.

EVO 3 Bay Console

“EVO's built-in professional monitoring section makes simple sense out of complex surround mixing, and is capable of simultaneous fully automated mixes in multiple formats,” Fibaek adds. “Apart from excellent audio, which has always been the hallmark of Fairlight products, our aim was to deliver massive channel capacity and fast intuitive operation. With 36-bit floating point audio throughout the signal path, users have the headroom and precision for the most demanding applications.”

Aimed at film, video and music production and post production facilities, EVO is the ideal platform for integrated recording, editing, mixing and video. As an integral part of the Fairlight family it is file compatible and operationally similar to existing Fairlight products and provides seamless workflows for virtually all SD and HD file formats.

EVO panels can also be fitted into existing Constellation frames, providing existing customers with an easy and convenient upgrade path.

Key Features:

Integrated Xynergi Center Section with self labeling key switches.
New In-Line Panel (ILP) delivering efficient knob-per-function access to channel parameters.
New Touch screen ‘bridge’ delivering rich graphics and channel feedback.
New fader panels featuring organic, full color OLED's.
The option of 2,3,4 or 5 bay configuration.
Customized surface panel layout to suit individual requirements.
...and without a price premium.

Mixopolis Maintains its Competitive Edge With Fairlight’s CC-1 Technology

"When you have a reputation to maintain, especially in a city as tough and competitive as New York, it is vital to stay ahead of the game by investing in the very latest technology."

This was the rationale behind Mixopolis’ recent decision to upgrade its existing Fairlight Constellation console from Fairlight’s QDC engine to the new Crystal Core (CC-1) technology. The upgrade included Fairlight CC-1 cards with integrated HD video and SX20, a new HP Z800 workstation, and two SSL MADI 24 channel I/O boxes.

Mitch Raboy behind his Constellation XCS Console

“We wanted to take advantage of the latest technology Fairlight is offering, especially integrated video and ease of handling various audio and video file formats,” says Mitch Raboy, founder and president of Mixopolis. “With this new technology, just about any audio or video file can be dropped on the timeline and Fairlight will handle it and play it back correctly. Audio sample rates are converted on the fly and I don’t have to worry about video frame rates because the system automatically plays back at the correct speed. I’ve also found that importing and exporting files, including OMFs, is much more streamlined.”

Located in an upscale brownstone half a block from Grand Central Terminal, Mixopolis is a boutique audio post production facility that offers clients two state of the art 5.1 surround sound mixing suites. Each room is fully equipped with all the latest gear to help shape the sonic character of any project.

Mitch Raboy, who won an Emmy for sound design for WNBC-TV, worked at numerous top audio facilities before establishing Mixopolis.

“We offer complete compatibility with any facility in the world and because we regularly exchange projects with other audio and editorial facilities, our customers can be assured that we know how to prepare files for others to work with,” he says.

As well as profiting from CC-1’s enhanced on-board HD video support, file interchange and plug-in capabilities, Mixopolis is also reaping the benefits of a technology that is at the forefront of ‘green’ computing initiative. Fairlight’s CC-1 engine performs digital audio and video processing hundreds of times more efficiently than state-of-the-art CPUs or digital signal processors, thus delivering increased performance with dramatically lower power consumption. In a world where energy price rises and climate change are major concerns for every responsible business, it is no surprise that this technology is proving enormously popular.

Since completing its CC-1 upgrade, Mixopolis has used its Constellation console on a number of TV and radio commercials for its main clients, which include advertising agencies, advertisers, video production and editorial companies.

“CC-1 has helped speed up our workflow as prepping sessions and moving files around our network is now much faster and easier,” Raboy adds. “Fairlight has always developed technologies and features that impress me and my clients with high quality audio production, speed and transparency in handling complex jobs.”

Independent Studios Standardizes On Fairlight’s CC-1 Engine

One year after installing its first Fairlight Crystal Core (CC-1) system, Milwaukee-based Independent Studios has upgraded its second audio post production suite to encompass CC-1 technology, thus ensuring that projects can move seamlessly from one suite to another.

Since its formation in 1991, Independent Studios has grown from a small, one studio facility specializing in commercial music and sound design to a company handling commercials, documentaries and feature film projects for a wide variety of clients. Its facilities have also grown to include two audio suites – both equipped with Fairlight Constellation consoles - and a music studio. Video editing suites, graphics suites and a new color correction suite are also on site, and these are owned and operated by a separate company, Independent Edit.

Founding director Randy Bobo says: “We have been using Fairlight equipment since 2000, when we installed our first Prodigy 2 and QDC systems. In June 2008 we decided to upgrade one of our audio suites to the new CC-1 platform because we wanted the ability to integrate video into our projects and have the option of third party plug-ins. “Having made that decision, it was only a matter of time before we also upgraded our second audio post suite and finally retired our remaining QDC. We like to have both post production studios equipped identically because this allows us greater schedule flexibility with our commercial clients. When both rooms are the same, projects can move from one to another very easily, allowing revisions to happen wherever and whenever they need to happen.”

"Bamboo" at Independent Studios

Although Randy Bobo freely admits that he’s not a ‘Windows person’, he says the transition to Fairlight’s latest technology has been very straightforward and, one year in, he can’t imagine using anything other than CC-1. “It is so much faster and gives us much more flexibility,” he says. “Thanks to Fairlight’s support of multiple A/V file formats, we can now import, export and convert files in a fraction of real time. This has made a real difference to our workflow.”

Ken Barnsley, Fairlight’s Director of World-wide Sales and Marketing, says sales of the CC-1 engine are steadily increasing, especially in the US, as new and existing Fairlight users recognize the power and versatility of this enhanced platform. “Fairlight’s CC-1 card is undoubtedly a major improvement on our previous QDC platform, particularly in terms of its green credentials,” Barnsley says. “Physically it has been reduced from the size of a dishwasher to a module that fits in your pocket, while in terms of energy it offers a 98% reduction in overall heat generated and a power reduction from 600 watts to just 12. By supporting a seamless interplay of both HD video and audio and a wide range of file exchange capabilities, Fairlight technology delivers real convergence within one integrated production environment and enhances the workflow in a wide variety of broadcast and post applications.”

Vancouver’s Winter Olympic Spectacular Begins & Ends With Fairlight

With a worldwide audience of approximately three billion spectators, Australian production company David Atkins Enterprises (DAE) pulled out all the stops to make sure the opening and closing ceremonies at the 2010 Olympic Winter Games in Vancouver were both spectacular and hitch free.

Despite a small glitch with the fourth leg of the indoor cauldron, which failed to rise during the opening ceremony, the two shows were deemed a huge success when they took place at the 55,000-seat BC Place Stadium on February 12 and February 28 respectively.

Behind the scenes, it was Fairlight technology that once again played a vital role. Already being used to edit the broadcast sound provided to German audiences by ARD and ZDF, Fairlight technology was now also a central part of DAE’s technical infrastructure.

Steve Logan (Left) - Rob Stefanson (Right)

DAE relied on four Fairlight Xynergi systems to deliver equally faultless audio for the two ceremonies. A total of four Xynergi systems were used – two for main playback and two for backup. As well as handling the audio requirements, the main Xynergi systems also provided the master time code for all other systems including video projection (from ETC), film projection, pyrotechnics, lighting, automation, lasers and show call. Even the conductor and performers relied on Fairlight as they all received their click and cue tracks from the Xynergi's.

Fairlight’s Xynergi Media Production Centre, which harnesses the processing power of the company’s Crystal Core technology (CC-1), incorporates integrated PyxisTrack video and features the Xynergi controller, a desktop user interface that allows engineers to access all features and functions of the Fairlight CC-1, as well as commonly used Windows applications. Xynergi offers a much faster editing and mixing interface and has the ability to handle all widely used surround formats.

DAE’s Steve Logan, who along with colleague Rob Stefanson was in charge of the Fairlight operation, says: “The demands required for these productions utilized almost every aspect of the facilities provided by Xynergi, but most importantly Fairlight’s legendary reliability.”

Both shows were edited on the Xynergi using media imported via Broadcast Wave and OMF files. QuickTime videos were also imported for reference during editing. The Xynergi’s unique clip based EQ and level was used extensively to master and balance the many segments involved.

“The separate systems consisted of one Xynergi as the main playback while the second Xynergi was a looping and A/B roll system providing continuous audio program,” Steve Logan explains. “This allowed for easy transition between the two systems using some very clever editing and synchronization that only Fairlight could do.”

Multitrack stems were fed to front of house, monitoring and broadcast consoles via multiple MADI streams. The Xynergi’s also provided simultaneous stereo and surround submixes. To ensure that no act of God disrupted the two shows, DEA had an identical mirror system as back up, running in parallel and in sync.

Logan explains: “This precisely duplicated the front house and monitor consoles. The idea was that if a complete power failure happened to any of the main systems, we could switch to the backup without interruption. Although all four systems were running, the backup systems were powered from separate UPS power supplies.”

The Vancouver shows were not the first time DEA had handled productions of this nature therefore it was able to tap into previous experiences gathered during the Opening and Closing Ceremonies for the Sydney 2000 Summer Games and the 15th Asian Games Doha 2006, in Qatar. The budget for Vancouver has been estimated at between $30 million and $40 million – roughly a tenth of Beijing’s budget. However, unlike Beijing, the Vancouver ceremonies were held in the comfort of an indoor venue – the first time in the history of the Olympic Games that this has happened.

Southern California Audio Post Facility AudioVision Upgrades To Fairlight’s Constellation XCS Console

Southern California Audio Post Facility AudioVision Upgrades To Fairlight’s Constellation XCS Console California, USA: Audio post production facility AudioVision has placed an order for a three-bay Fairlight Constellation XCS console. This will be installed into a custom-built frame that is currently being constructed by AudioVision’s owner, Bill Trousdale. Based in Orange County, AudioVision was established in 1989 by Trousdale who has more than 35 years experience in the pro audio industry.

The facility is equipped to a very high specification, particularly in regards to acoustic isolation and overall sonic purity. All of its audio recording systems are Fairlight, which Trousdale chose because they offer the speed, stability and audio quality that his clients demand. “At AudioVision we pride ourselves on the fact that we are technically far ahead of our competitors,” he says. “Clients want to realize their goals and contain costs through smooth work flow and technical reliability. Our aim is to help them achieve this in an environment that is both creative and relaxed.” By upgrading to Fairlight’s Constellation XCS console, AudioVision will be able to harness the unique tactile power of Fairlight’s Xynergi controller.

This provides a truly intuitive tool for recording, editing and mixing and allows engineers to access all the features of Fairlight’s new Crystal Core (CC-1) engine, as well as commonly used Windows applications.

Image: Philippe Guichard FairlightUS and Bill Trousdale AudioVision

Bill Trousdale’s XCS console will be the first in the USA to use the Minetonka Dolby E and TC power core plug-ins. It will also be housed in a special frame with room for a secondary computer and with the top panels placed at an angle, reflecting the way in which Trousdale likes to work. "I've always liked the 'English' style of console - flat faders and the other panels angled upwards as they get further away - very ergonomic,” Trousdale says. “Besides, with the amount of hours I spend in front of the console, I want to be as comfortable as possible." AudioVision’s console components are being supplied by Fairlight dealer Hollywood Sound, which has had a long association with the facility.

This is Hollywood Sound’s first console sale. FairlightUS will oversee delivery and be on hand to help with installation and after sales support. “I’m expecting immediate delivery and I’m hoping to have the custom frame finished within the next few weeks,” Trousdale adds “If everything goes to plan I should have the new console operational soon after.”

Producers Upgrades Audio Facilities With Fairlight Technology

Producers' Video Corporation is a Baltimore-based facility that offers US broadcasters and advertising agencies a full service covering everything from location shooting through to audio and video post production.

in recent months, the company has completed a major overhaul of its audio facilities to bring them up to the latest technical specifications. As part of this process, Producers has installed two Fairlight Constellation XCS consoles, featuring a Xynergi centre panel and running on Fairlight's latest Crystal Core (CC-1) engine.

Producers Senior Audio Engineer Bob Bragg said: "Before choosing Constellation XCS, we thoroughly investigated every major integrated professional audio product on the market. In the end, the Constellation consoles won out because there were no other products on the market that offered such an extensive range of features at such a cost-effective price point." Producers is no stranger to Fairlight technology, having previously used the company's QDC/FAME systems.

Bob Bragg said: "We've always striven to have as much integration in our equipment as possible - that's what pointed us to the FAME systems back in 1997, because we like the integrated mixer/editor concept. Fairlight has now taken it to the next level by adding HD video in the timeline, flexible file import/exporting and VST plug-ins. In post production these days everything is all about work flow. Speed and flexibility are absolutely vital and Fairlight has really taken this seriously with all the new features it has incorporated into Constellation XCS. Even our multiple Terabyte FX library is integrated within the box with Audiobase3. We don't have to switch applications to search our sound libraries and spot them into a project, which is a major advantage as it saves us so much valuable time."

Bragg adds that having the ability to ingest picture and import and export most file formats is also helping to speed up workflow, leaving staff free to get on with the job and get the finished project over to the client more quickly for final approval.

He said: "I also like having a variety of EQ and dynamics on the channel strip of every channel without having to load a single plug-in. This saves time, plus the native processing sounds sonically superior to most of the plug-ins that I've used on other systems."

Bragg said that, as a long-time Fairlight user, he has adapted easily to the built-in Xynergi interface and the new CC-1 engine. Less experienced engineers have also taken to the system quickly because it is so intuitive to use.

He said: "We set-up our first Constellation system for training several weeks before the installation so that we could provide our engineers with training time without the normal pressure of a busy day with a client. I would advise any other facility with the space to adopt a similar approach because it does give staff an opportunity to become familiar with this new technology. Having said that, the Xplain help buttons and the unrivaled support we've gotten from Fairlight US really helped us to get to grips with CC-1. Now we're comfortable with the general operations and we're continually adding the advanced features to our skill set."

Bob Bragg, Mike and Tim St. Clair

Producers handles large volumes of regional and national television spot work, all of which have to be delivered to very tight deadlines. The facility is also tackling an increasing amount of ADR work and Bragg said that everyone is very excited about the 'great' ADR features on the new Constellation systems.

He said: "It has beeps, streamers and even support for on screen script. In keeping with any facility that is moving to a more up-to-date technology platform, there is always the worry that archive material might not be compatible. Producers was concerned about this because it has 12 years of archived projects that clients need access to.

"It turns out that our concerns were unfounded because Fairlight has made the legacy projects loadable in the new editing format. In our first week with the new equipment, we had a client who needed to re-edit and update work from 2003. It was seamless."

Fairlight's New Pyxis-MT Makes Its Debut On The Emmy Award- Winning Ellen DeGeneres Show

Award-winning sound mixer Terry Fountain is using Fairlight’s new Pyxis-MT to record audio and video for The Ellen DeGeneres Show, a daily talk/variety show that is produced in Los Angeles and syndicated nationally across the USA by Warner Bros. Television.

“Ellen” sound mixer Terry Fountain and Fairlight's Philippe Guichard show off the new Pyxis-MT system. Standing for Pyxis Multi-track, Pyxis-MT is a versatile audio and video capture, playback and file transfer system that combines the functionality of a fully featured HD non linear recorder/player with a professional 192 track audio recorder built in one. The system provides true HD VTR performance and includes Fairlight’s extensive drag and drop file handling capabilities. Powered by Fairlight’s Crystal Core engine, Pyxis-MT can record up to 96 tracks of sample locked, floating point audio along with High Definition video. An additional 96 tracks are available in the track laying process for track hungry applications.

Fairlight’s Pyxis-MT system, the first of its kind to be installed anywhere in the world, has taken pride of place in a new facility built on Warner Brothers’ stage 1-2-3 for Telepictures, the production company responsible for producing The Ellen DeGeneres Show. It was specified by systems sound consultant David Crivelli. The tapeless high definition facility was built and engineered by systems integrator National Teleconsultants.

“As a former Fairlight user I am always happy to recommend the company’s workstations because they are dependable, consistent, easy to use and capable of delivering exceptional sound quality,” Crivelli says. “In this particular case, the engineers using the new facility were making the transition from tape to a tapeless High Definition environment. The audio requirement was complex because the show features music performances as well as Ellen’s comedic monologues and interviews with celebrities and members of the public. This meant there was a need to record multiple tracks of isolated audio and to link this to picture so that daily rehearsals could be reviewed and remixed prior to recording for taping.”

To ensure that the show captures the excitement of the on-stage performances, everything is shot in sequence in real time as though it were live taped as live. The Fairlight captures 48 tracks of audio along with video during the rehearsal earlier in the day. The mixer, along with the music guest engineer, are able to replay the rehearsal and modify equalizations, balances, and dynamics of every instrument discretely until all parties are happy. During the recording of the show, the dialed in parameters are applied to the actual music performance. If all goes well, no remixing is required. If the musical guest is not happy with something, the Fairlight is used to remix and perfect the area of concern.

“For The Ellen DeGeneres Show, The Pyxis-MT is used as a live multi-track recorder that is connected via MADI to a Studer Vista mixing console,” David Crivelli adds. “The final program mix is carried out in the console but thanks to the system’s editing capabilities, editors can instantly locate the exact point where a remix is required. They can also copy and paste in post production mode to capture different elements of the performance and they can easily export the time stamped audio to a non-linear system using time code referenced broadcast WAV files. This allows editors responsible for the final delivery to seamlessly drop the newly mixed audio back into their timeline for the blending and conforming prior to the delivery of the show.”

The Pyxis-MT installed at the new facility has a Black Magic HD Link video card that makes it very easy to archive performances and retrieve audio and video from previous shows if the material needs to be re-purposed. Since the Fairlight has video capabilities built in, there is no need to repurpose expensive video servers to work with the workstation for video accompaniment.

Crivelli says: “This is such an easy system to use that in just a few weeks the show’s engineers have quickly become adept at operating it. It doesn’t need a controller because all of the software features are managed via a mouse/keyboard. Using Pyxis-MT as a multi-track recorder is a bit overkill because it is capable of so much more. Having it installed gives the facility the opportunity to multipurpose the room. At any time it can be used for post production when it is not being used for the show.”

Now in its sixth season, The Ellen DeGeneres Show began shooting in High Definition in September 2008. This coincided with a move to Stage 1 at Warner Brothers Studio in Burbank, California, after NBC sold the property where the show was previously taped. Produced by A Very Good Production and WAD Productions, Inc. in association with Telepictures Productions, the show airs in national syndication, including on the NBC Owned and Operated Television Stations Group.

U.S. Broadcasters Move to Fairlight CC-1 Platform

U.S. sports broadcasters Major League Baseball Productions and World Wrestling Entertainment have both moved to Fairlight's new CC-1 platform in an effort to improve their speed of workflow and networking capabilities.

Major League Baseball Productions are installing two CC-1 powered Fairlight Constellation large-format mixing consoles, both with the new Xynergi Centre Section (XCS) and PyxisTrack HD video. The production company has also invested in a Pyxis HD server to network video to the two consoles.

In January 2009, MLB will launch its own HD/5.1 cable network, which will reach over 50 million homes and is being billed as the biggest cable TV launch in US history. The company will also soon be moving to the all-new facility shared by the MLB Network.

Chuck Cavanaugh - MLB

The second sale, to World Wrestling Entertainment, involves five Fairlight Xynergi Media Production Systems, all with PyxisTrack HD video. A Fairlight user since 1997, WWE TV made the transition from the QDC platform to CC-1 as part of a general overhaul inspired by its switch to High-Definition.

Chris Argento, VP of post production at WWE TV in Stamford, CT, says, "In January 2008 we moved to HD and that fuelled our decision to invest in Xynergi and the CC-1 engine. Previously, we had four Fairlight systems, all with QDC engines, as well as Pyxis in each of our mix rooms and a MediaLink server to tie them all together. Fairlight's reliability and speed have been the biggest factors in staying with the company for our post needs. These attributes, coupled with the onboard HD video track on the CC-1, made the transition a no brainer. We are now able to drag and drop MXF wrapped files from our Grass Valley K-2 server right to the timeline with full HD video and audio."

CBS Brings Sound to Super Bowl Sunday With Fairlight

Professionals at CBS Television City mix audio for programming aired on CBS with Fairlight Constellation-XT consoles.

In recent years, the television commercials that air during the Super Bowl have become as anticipated as the game itself. With that in mind, the time-sensitive and painstaking preparation of these on-air promos is on par with the endless strategizing and media juggling of the players and coaches on the field.

Enter the team of CBS Television City, which has been busy mixing audio for up to 120 CBS promos per day during the week leading up to Super Bowl XLI, held on February 4. While the preparation time for Super Bowl programming is typically closer to a month, this year posed a slightly different challenge. The commercials this year included preview footage from upcoming episodes, so they had to wait until that material was completed to begin mixing the spots.

With time constraints being an even greater challenge this year, CBS Television City once again turned to Fairlight for around-the-clock audio mixing of the numerous Super Bowl promos. In early 2006, CBS Television City purchased two Fairlight Constellation-XT consoles, and recently purchased a third Constellation-XT with the option of upgrading to an FPGA-driven DREAM II Constellation-XT in the future. “Timing is everything in our line of work,” said Jeff Ross, Audio Mixer, CBS Television City. “Any downtime affects our whole department, and if one room shuts down all the content gets bumped to another finishing audio suite and bottlenecks production. That’s obviously something we can’t afford to endure when preparing for the Super Bowl, which is our biggest event of the year.”

Since installing the first two Constellation-XT’s, CBS Television City has benefited from the stability and speed that is characteristic of all Fairlight products. “For short-form audio mixing it’s so important that the technology be as ergonomic as possible, because we mix so many spots in a given day,” Ross said. Additionally, the customizable design of the Constellation-XT allowed CBS Television City to set up macros specific to their needs. “Previously all macros had to be programmed through a computer interface, but the Constellation-XT enables us to customize our own presets simply with the touch of a few buttons,” Ross added. “This capability has impacted our day-to-day workflow, allowing us to maximize our project velocity and consequently our project volume.”

Fairlight ‘Xynergises’ its Constellation Mixing System.
New Xynergi Centre Section panel now available for Constellation

Fairlight has responded to overwhelming calls to bring its Xynergi based SLICK (Self Labeling Illuminated Computer Key Switches) technology to its popular Constellation large format mixing consoles. The XCS panel, which stands for Xynergi Centre section, is now an available option across the complete range of its Constellation console series.

The Xynergi controller technology was first launched to the world in the form of the desktop Xynergi Media Production Centre and, according to Fairlight’s Sales & Marketing Director, Stuart DeMarais, “it quickly became clear that with the Xynergi technology, we had invented a controller that re-defined how users interface with their creative environment. Once they’d experienced Xynergi any other interface experience became a compromise. It was only a matter of time before we had a crescendo of voices asking for us to incorporate the Xynergi interface into our large format consoles and now we have pleasure in delivering this to the market”.

The XCS panel harnesses the unique tactile power of the Xynergi controller technology and creates a whole new paradigm for console style mixing environments. Constellation with XCS is the ultimate statement in form and function: a small footprint console with dedicated tactile control of every single system function including over 60,000 automation parameters.

The XCS panel centralizes all major system functions directly under finger tip control providing a truly intuitive tool for recording, editing and mixing. The XCS can be specified with any number of other Constellation panels, most typically the channel assign panel or inline panel, to create a console mixing environment tailored made to the individual tastes of the operator.

The first Constellation with XCS panel was shipped to Highway Television in France and the system can be seen at various global locations during the upcoming trade show season as follows; IBC Amsterdam (Sept 12th – 16th), AES San Francisco (Oct 2nd – 5th), SATIS Paris(Oct 23rd-26th) and Tonmeister Leipzig (Nov 13th – 16th).

Fairlight Releases DREAM II Version 1.5 at NAB 2008

Delivering Convergence by supporting a seamless interplay of both HD video and audio and a wide range of file exchange capabilities to enhance workflow in a wide variety of broadcast and post applications.

In a move that extends the already impressive capabilities of Fairlight’s Dream 2 platform, Fairlight today announced the release of Dream 2 Software Version 1.5.

Packed with over 50 new features, the new software delivers a convergence of audio and video never seen before in any audio production platform. All Dream 2 systems are supplied standard with on board video. The new release extends the capabilities to include support for a comprehensive array of video and audio interchange formats as well as providing support for a wide range of commonly used media file formats.

The Sound of “RUNNING THE SAHARA”!

The Film Foundry puts new Fairlight CC-1 to the test to post
“Running the Sahara” a documentary narrated and produced by Academy Award™ winner Matt Damon

The Film Foundry, a premier facility in Charlotte, North Carolina, has just finished post production on "Running the Sahara", a documentary chronicling an extraordinary expedition across the Sahara desert. The project was narrated by Academy Award™ winner Matt Damon and directed by Academy Award™ winner James Moll. The score was provided by Hans Zimmer. Senior Audio Designer Paul Maraio, who mixed and mastered the documentary in 5.1, commented on the ease and reliability which came with mixing the documentary on their two CC-1 powered Fairlight Constellation systems. "With locations that sometimes included sandstorms, you could imagine the challenges as far as audio clean up.

Paul Maraio

Considering we had a deadline to make the Toronto Film Festival, we were under the gun. I can't say enough about our Fairlight systems. They delivered in spades!" The Film Foundry's two Constellations are both 3-bay frames equipped with 24 faders. The track capacity of the Fairlight DAW software eliminated the need for any additional playback devices. And with Fairlight's binnacle editing system, the entire process went smoothly and efficiently. With such diverse locations across Northern Africa, the audio was challenging at times. Support for VST plug-ins let the team use tools such as noise-reduction and reverb without resorting to outboard gear. Working on a tight deadline, and with multiple picture changes, the ability to easily import OMF files and QuickTime videos proved essential.

Reinforcing Fairlight’s groundbreaking CC-1 Crystal Core technology as the industry’s most powerful media processing platform, Television Broadcast Magazine honored CC-1 as one of the publication’s “Best of Show” winners from NAB 2007.

The Television Broadcast Top Innovation Awards are based on evaluations from a panel of engineers, production and post professionals, as well as editors who select 19 products which reflect innovation and engineering excellence out of 1600 exhibiting companies. Fairlight is very proud to be on the list amongst the likes of Apple, Adobe, Sony and Harris just to name a few. Based on the latest Field Programmable Gate Array (FPGA) silicon technology, Crystal Core technology immediately and comprehensively obsoletes DSP/Time Slice Bus architectures and delivers quantum performance gains by shrinking hardware into a single purpose-built media processing chip. Crystal Core technology delivers improved quality, unparalleled flexibility, scalability, enlarged system scope, and previously unattainable price performance gains.

The CC-1 media engine can deliver up to 230 channels each with 6 bands EQ, 3 stages Dynamics, 192 track recording and editing and well as a complete multi-format mixing system. CC-1 powers the Fairlight DREAM II Family, which delivers lower cost of ownership across the whole range of Fairlight systems and sets a new benchmark for HD compliant media creation systems. DREAM II features Fairlight’s market-proven tactile control and mixing surfaces including Satellite AV, StationPlus, Constellation-XT, HD DREAM Factory and Anthem.

“Since the introduction of CC-1 in the fall of 2006, leading post-production companies around the world have invested in DREAM II Series products,” said Stuart DeMarais, Fairlight Sales and Marketing Director. “The Television Broadcast Top Innovation Award demonstrates what audio professionals are already realizing: that CC-1 is the industry’s most versatile, powerful and accessible processing technology.”

Fairlight Launches “XYNERGI”

Worlds First Unified Media Production Center

Introducing the world to the groundbreaking XYNERGI controller; a unique desktop interface centralizing tactile control of Fairlight’s CC-1 technology platform and Windows applications

In an introduction that is poised to dramatically open up the equipment choices available to today’s’ media creators, Fairlight today launched the new XYNERGI Media Production Centre.

Xynergi organizes and delivers a suite of all the media processing tools needed for high end audio for video production in all widely used surround formats. Xynergi is based around a completely new concept in tactile control which harnesses the awesome ‘green’ processing power of Fairlight’s CC-1 digital media engine.

The Xynergi controller features a unique implementation of self labeling key switches which are able to display full color images, icons or text to provide intelligent control over the entire recording, editing and mixing process. In addition the controller can support any type of language or icon driven menu structure with an ‘on-demand’ QWERTY keyboard for routine naming tasks and immediate access to MS Office™ tools such as email, Word™ and Excel™. The controller also features eight touch sensitive rotary controllers and multiple soft keys arranged around a color control zone known as the “pad”. These can be used to support Xynergi’s sophisticated mix automation system as well as precise control over extensive signal processing facilities which include multi-band EQs, three stage dynamics, multi dimensional panning and auxiliary sends.

The real essence of the controller lies in its ability to intelligently know what mode the operator is in, presenting ONLY the functions relevant to the desired mode whilst hiding those that aren’t. The result is less keystrokes, more control and greater productivity all of which contribute to an enhanced creative operational experience.

“The Xynergi Media Production Centre brings together the most powerful, versatile and scalable media production system in the world today” announced John Lancken, Chief Executive Officer, Fairlight. “This revolutionary new control interface literally puts multi-dimensional tactile control at the fingertips of the creative community. When combined with the CC-1 engine, Xynergi dramatically increases the creative firepower that engineers, artists and producers have to work with.”

The Xynergi Media Production Centre will be debuting at this year’s IBC Exhibition in Amsterdam from September 7^th to 11^th with prices starting from under $23,000.

Fairlight CMI Keyboard Signed By 45 Stars Raises $100,000 for WITNESS

For music fans around the globe the ultimate holiday gift this year is available online at EBay: a vintage Fairlight CMI keyboard signed by 44 legendary artists who used it to define the sound of the Eighties. The Fairlight will be auctioned online up until live auction at the WITNESS Benefit Dinner and Concert in New York City on December 11, 2006. With a starting bid of $100,000 already registered, this is a gift that will likely appreciate considerably over time and, because it’s being auctioned for charity, will keep on giving beyond the holiday season.

Fairlight has donated a vintage CMI (Computer Music Instrument) keyboard and arranged to have all 43 keys plus the chassis autographed by the artists that made the instrument the most important development in music in the Eighties. The signatory artists, who used the CMI to radically change the music of the day, include Lindsey Buckingham, Nick Rhodes, Stuart Copeland, Elvis Costello, Mike Oldfield, Hans Zimmer, Roland Orzabal, Barry Gibb, Steve Winwood, Kate Bush, Laurie Anderson, JJ Jeczalik, Joni Mitchell, Annie Lennox, Boris Blank, Midge Ure, Alan Parsons, Geoff Downes, Brian Wilson, David Gilmour, Mark Knopfler, Sir George Martin, John Paul Jones, Trevor Horn, Jim Kerr, Brian Eno, Jean Michel Jarre, Howard Jones, Herbie Hancock, Thomas Dolby, Keith Emerson, Mark Mothersbaugh, Bono, Jan Hammer, Todd Rundgren, Stevie Wonder, Iva Davies, David Hirschfelder, Chick Corea, Daryl Hall, Mike Rutherford, Billy Gibbons, Peter Gabriel and David Bowie.

Iconic hits such as “Sledgehammer” by Peter Gabriel; “Thriller” by Michael Jackson; “Rocket” by Herbie Hancock and “The Unforgettable Fire” by U2 are classic examples of the Fairlight CMI as it was used within the 80’s genre. Among the first commercially-available albums to incorporate it were Kate Bush's “Never for Ever” (1980), Stevie Wonder’s “Happy Birthday” (1980), Jean-Michel Jarre's Magnetic Fields (1981), and the Buggles' last album, “Adventures in Modern Recording.” Peter Gabriel's "Shock the Monkey" and its parent album Security (1982) also feature the instrument.

The Fairlight CMI was the world’s first digital sampler and featured other radical advances for the time, including a light pen interface and menu-driven GUI. One of the CMI’s most significant software features was the so-called "Page R,” which was the world’s first real time graphical music sequence editor, widely copied on other software synths ever since. The instrument was featured extensively in the futuristic videos of those who used it dominating the 80’s music scene and, being the first device to cross the computer/instrument divide, was the subject of passionate debate within the artist community — Phil Collins, a CMI detractor, went so far as to advertise “No Fairlight Used” in the liner notes of his 1985 album “No Jacket Required!” A Fairlight CMI can be seen in the Devo film “We Are Devo” and in Jan Hammer's music video for the Miami Vice theme song. It also makes an appearance being operated by Nick Rhodes in Duran Duran's video for "The Reflex".

The CMI hit the height of its popular frenzy among the artist community when it was featured in a now-legendary performance by Stevie Wonder, Herbie Hancock, Thomas Dolby and Howard Jones at the 1985 Grammy Awards. Ironically, the Grammy Album Of The Year in 1985 was “No Jacket Required.”

Though still selling to the music community elite, the cost of manufacturing forced Fairlight to discontinue the CMI in the late Eighties, as it migrated its business to building digital audio workstations and mixing consoles for the Hollywood film production business, the television broadcast market and the higher-end of music recording where the “Fairlight Sound” is still highly prized.

On December 11, WITNESS’ annual benefit will be hosted by the organization’s founder and chairman, Peter Gabriel, and actor Gael Garcia Bernal. The event will include performances by Paul Simon, Angélique Kidjo and Kate Pierson & Fred Schneider of the B-52's.

Commenting on the auction, Fairlight Chief Executive John Lancken said today, “Bringing together the artists and the instrument that turned music on its head back in the Eighties is a fascinating exercise in the history of music, but to do it with WITNESS to support peace and human rights around the world is especially gratifying. We believe that this project, the culmination of two years of hard work, is only the beginning of a long and productive relationship between Fairlight and WITNESS as we bring to bear our digital media expertise and our user base of studios and broadcasters around the globe to help advance the great cause that WITNESS fights every day.”

Echoing this sentiment, Gillian Caldwell, Director of WITNESS, said today “The Eighties is remembered for among other things the unique music of the time, much of which was created on the Fairlight CMI. Today, WITNESS seeks to ensure the current decade is not remembered as a time that the world turned a blind eye to human rights abuses across the globe. To open up the eyes of the world to these abuses, WITNESS relies on sound and video technologies, which is why it is especially exciting to see a professional audio company like Fairlight support our cause.”

The December 11 auction marks the end of a two-year program embarked on by Fairlight, WITNESS and New York City public relations agency Griffin Public Relations & Marketing to reach out to the artists who had used the keyboard. Working with artists, agents and managers, the group pitched participation, sought an agreement to autograph and then issued the keys individually to artists around the world. The autographed keys were each returned to Fairlight in Sydney and the keyboard was recently reassembled and shipped to New York, where it will go on display at a VIP reception before the auction.

The Fairlight CMI was the world’s first digital sampler and featured other radical advances for the time, including a light pen interface and menu-driven GUI. One of the CMI’s most significant software features was the so-called "Page R,” which was the world’s first real time graphical music sequence editor, widely copied on other software synths ever since. The instrument was featured extensively in the futuristic videos of those who used it dominating the 80’s music scene and, being the first device to cross the computer/instrument divide, was the subject of passionate debate within the artist community — Phil Collins, a CMI detractor, went so far as to advertise “No Fairlight Used” in the liner notes of his 1985 album “No Jacket Required!” A Fairlight CMI can be seen in the Devo film “We Are Devo” and in Jan Hammer's music video for the Miami Vice theme song. It also makes an appearance being operated by Nick Rhodes in Duran Duran's video for "The Reflex".

VINTAGE FAIRLIGHT CMI KEYBOARD

Featuring signatures from 44 celebrity musicians, composers & producers

Bono	Mark Knopfler	Kate Bush
Stevie Wonder	Thomas Dolby	Todd Rundgren
Sir George Martin	Steve Winwood	Barry Gibb
Brian Wilson	Herbie Hancock	Annie Lennox
Peter Gabriel	Elvis Costello	David Bowie ... & many more

The CMI hit the height of its popular frenzy among the artist community when it was featured in a now-legendary performance by Stevie Wonder, Herbie Hancock, Thomas Dolby and Howard Jones at the 1985 Grammy Awards. Ironically, the Grammy Album Of The Year in 1985 was “No Jacket Required.”

Watch the Fairlight in action at the 1985 Grammy Awards!

FairlightUS Forms to Enhance Representation in North America and Canada

In a move that provides audio professionals in all areas of post, broadcast and recording with a new and improved conduit to Fairlight’s digital media production technologies, longtime Fairlight veteran, Steve Rance, has formed FairlightUS as the new independent distributor of Fairlight in the United States and Canada. Effective immediately, FairlightUS assumes ownership of MediaGear, the previous Fairlight distributor in North America, and customers can be assured of continual service and support as Rance has been careful to retain all sales and support staff in both California and New York.

The FairlightUS team includes Steve Rance, President; Philippe Guichard, National Sales Manager; Michael Haprov, National Technical Support Manager and Michael Mueller, East Coast Sales Manager. Rance and Mueller are based in the New York Metro Area and Guichard and Haprov will head the West Coast operation from company headquarters in Pasadena, California.

“With the recent introduction of the CC-1 Engine, our timing could not be better,” Rance explained. “FairlightUS is presented with a considerable opportunity to provide audio professionals with a digital media production platform that makes compelling arguments from a technological, commercial and application perspective! Our goal for FairlightUS is to get as many systems as possible in the field so that our customers can experience for themselves the power of CC-1 coupled with the highly intuitive tactile interfaces of the DREAM II family!”

Rance, who holds multiple patents in audio systems design and was an original developer of the ground breaking Fairlight CMI, leaves FairlightAU after 25 years at the company’s Sydney headquarters. Guichard, Mueller and Haprov all share longtime associations with Fairlight in the United States market, having previously served with MediaGear and other distribution entities.

Commenting on the announcement, Fairlight CEO, John Lancken said today, “Fairlight‘s new CC-1 technology provides a fresh alternative to the industry, now our distribution partner in the United States and Canada will provide a similarly fresh and energetic approach to sales and support. We are very pleased that Steve and his team have risen to the challenge and we look forward to working closely with them to communicate with our customers and provide them with the tools and support to be successful.”

Fairlight’s new patent-pending CC-1 audio production engine, based on Field Programmable Gate Array (FPGA) silicon technology, comprehensively obsoletes DSP/Time Slice Bus architectures and delivers quantum performance gains by shrinking hardware into a single purpose-built media processing chip. Crystal Core technology delivers improved quality, unparalleled flexibility, scalability, enlarged system scope, and previously unattainable price performance gains. About FairlightUS: FairlightUS is headquartered in Pasadena, California and is the exclusive distributor for Fairlight products in the North American market. Fairlight designs and manufactures media creation tools including digital audio recording, editing and mixing systems for standard and high definition audio post, broadcast and music production applications. Fairlight's DREAM II family includes Satellite, StationPlus, Constellation-XT, HD Factory and Anthem. The DREAM II series is powered by Fairlight’s breakthrough CC-1 technology, the world’s first FPGA based media processing engine which introduces Dynamic Resolution Optimization and delivers previously unattainable price performance gains together with unprecedented speed, flexibility and exceptional sonic quality. The platform sets the benchmark in low latency processing.

Complementing DREAM II is Fairlight's Pyxis family, which offers a comprehensive choice of integrated or stand-alone Standard and High Definition video products whilst Fairlight's MediaHub workflow tools provide a complete media management solution for audio and video networking.