Recording and Production News
Renowned film score producer/editor kidnaps OrpheusCambridge, UK, March 2008: Mark Willsher of pin3hot.com, the San Francisco-based producer, recording engineer and film score editor known for his work on New Line Cinema's Lord Of The Rings trilogy and such blockbusters as The Aviator and King Kong, has fallen for Prism Sound's new eight-channel Orpheus Firewire recording interface in a big way. "I've been in this business quite some time, and it is rare that I pick up gear and get really excited about what I'm going to be able to do with it. However, when the guys at Prism Sound started calling me to get me to return the Orpheus they'd lent me as a demo unit, I started thinking, 'Damn - you're not getting this back!'"
British-born Willsher studied music at the University of Ottawa in Canada, became technical director of the internationally recognised Chamber Music festival there, and ran a mobile recording facility. He worked on editing Howard Shore's score for the Extended DVD edition of the first instalment of Peter Jackson's Lord Of The Rings trilogy, and subsequently worked on the remaining two films, taking over as Associate Music Producer for Return Of The King. He now lives in San Francisco, and continues to divide his time between film work and chamber music recording on a laptop-based Merging Pyramix DAW.
"I've worked with a lot of different converters over the years, and definitely have my favourites," explains Willsher from his San Francisco studio. "I first worked seriously with Prism Sound gear on Lord Of The Rings, where we used a lot of ADA-8s. I liked the fact that you could hook them directly into Pro Tools - that made life a lot easier on that film. I've since rented them for film work several times, but I've never owned one. Until recently, I was still using a couple of other converters for my mobile recording work, but I had to use a Magma chassis to interface them with the Pyramix Native system on my laptop, which wasn't ideal. And then Frank Oglethorpe, from Prism Sound's US office, told me about the Orpheus, which was being designed at the time, and asked me if I'd like to try one out when it was ready.
"I really liked the idea of just plugging the interface into my laptop and recording over Firewire, but I wasn't sure if it would be good enough sonically - none of the other Firewire interfaces I've tried or heard about have really been up to scratch. So I said I'd like to try it, but that I'd reserve judgement."
Frank Oglethorpe sent an Orpheus to Willsher's studio at the start of February. "The first thing I noticed was that it sounded really good. And then the other features began to win me over: its portability and ease of use, the stable clock and the decent mic preamps, which did really well in a test I set up with some Sanken CO-100K mics."
Speaking of the Orpheus's reliability, Willsher echoes the experience of other Prism users who have found the company's interfaces to be highly crash-resistant, even when the Firewire connection is completely interrupted. "I was recording a classical concert for television broadcast the other week, using the Orpheus as the master clock source, recording the audio to Pyramix on my laptop, and giving the TV crew a stereo feed from the Orpheus's internal mixer. During rehearsal, the Firewire cable was accidently pulled out of the laptop while I was recording. Of course, the audio stopped going into Pyramix immediately, but the Orpheus kept on routing its internal mix to the TV guys via the digital outputs without a hitch - they didn't even know anything was wrong! Most other interfaces I've used would have crashed.
"I'm still discovering features I like - nicely thought-out touches. Loads of interfaces I've used have dual headphone outputs for monitoring, but I love the fact that I have independent level control over the two headphone outs on Orpheus. And the assignable master volume control is great - I can even use it as a high-quality 5.1 master level controller."
Willsher likes variety in his career: at the time of writing in early Spring 2008, he was simultaneously finishing work on the score for Pig Hunt, a darkly comic horror film (with nods to Deliverance) about a weekend pig-hunting exhibition that goes horribly wrong, and also completing a series of chamber recordings of late Beethoven Quartets for CD release, with the San Francisco-based Cypress String Quartet. He plans to use Orpheus to complete the remainder of the Beethoven recordings.
"I'll be honest - I haven't unplugged the Orpheus or stopped using it since it arrived. I haven't even booted up the main tower-based Pyramix system in my studio, as the combination of Orpheus and Pyramix Native on my laptop has been giving me everything I need. In the end, when Frank from Prism started leaving messages for me to see what I thought of the Orpheus and if they could have the demo unit back, I just rang him up and said, 'How much is it? 'Cause I'm not sending it back...!'"
|Prism Sound and SADiE Help Capture Gregorian Introits in Latin and English
A Lyra audio interface and SADiE 6 software delivered the perfect solution for a complex location recording project at Buckfast Abbey in Devon. . . . (11th June 2018)
|Prism Sound Appoints Sonic Lab as Its Distributor in Taiwan
Based in Taipei, Sonic Lab has an extensive customer base that encompasses local pro audio, broadcast and film scoring facilities. . . . (6th June 2018)
|Ralph Salmins Adds Prism Sound Conversion To the Bunker's Equipment List
The audio quality of Prism Sound's flagship ADA-8XR multichannel converter proved just too good to resist. . . . (1st June 2018)
|Carlo Camera Extols The Virtues Of Prism Sound Audio Conversion
The Italian mastering engineer has equipped his facility with a top of the range Prism Sound ADA-8XR because it offers no compromise A/D D/A conversion. . . . (9th May 2018)
|Prism Sound Boosts Its US Sales Force With Two Key Appointments
Eric Klein and Scott D Ray join the company to promote its world-renowned audio recording products. . . . (19th April 2018)
|Prism Sound's Lyra 2 Brings 'Off The Scale' Sound Quality to US Band UNA
American band UNA are delighted with their new Prism Sound Lyra 2 Audio Interface, which they won at NAMM after entering our prize draw competition. . . . (10th April 2018)
|Prism Sound brings recording studio quality to the Axpona Show with the Callia DAC
Visitors to Axpona will benefit from a 20% discount on the purchase of a Prism Sound Callia. . . . (28th March 2018)
|Prism Sound Sponsors AES Archiving, Preservation & Restoration Conference
The company's audio interfaces and converters are ideally suited to the quality demands of this important market. . . . (28th March 2018)
|Benjamin Izmajlov Finds Prism Sound's Audio Quality Second To None
This highly respected musician and producer is delighted with the Prism Sound Atlas audio interface he has recently added to his studio set up. . . . (20th March 2018)
|Tim Gennert Centres His Mixing Environment Around Prism Sound
The company's Lyra 2 Audio Interface is giving this renowned producer and mastering engineer the accuracy he demands from pro audio equipment. . . . (18th February 2018)
|Audio Clicks, Errors And Dropouts Are No Longer A Problem With Prism Sound's Verifile
This exciting new technology, to be launched at NAMM 2018, is now incorporated as standard in Prism Sound's USB range of audio interfaces. . . . (23rd January 2018)
|The B-Side Project Remix Awards Head To Strongroom Studios For 2018
Now in its ninth year, this respected competition continues to provide a cross-genre platform for new artists with a heavyweight industry judging panel. . . . (11th January 2018)
|British Grove Studios Invests In Prism Sound PT-HDX Compatible Interface Cards
This highly respected facility can now guarantee that Pro Tools users will have access to high quality Prism Sound audio long into the future. . . . (2nd January 2018)
|Prism Sound Embraces ASIO Direct Monitoring (ADM) For Key Interface Products
The company's Award-winning Atlas, Titan and Lyra audio interfaces and SADiE workstation software can now deliver a more convenient, automated workflow. . . . (17th December 2017)
|Rare 78rpm Records Are Being Digitized Using Prism Sound Titan Audio Interfaces
This unique community project is aiming to create a digital reference collection of more than 400,000 sides of these delicate shellac discs. . . . (3rd November 2017)
|The Royal Northern College of Music Adds More Prism Sound Converters To Its Stock
This highly respected conservatoire has now deployed nine Prism Sound ADA-8RX multichannel converters across four recording studios. . . . (31st October 2017)
|Prism Sound's Titan Brings Unbeatable Sound Quality to George Gvarjaladze's Project Studio
The Georgian producer, composer and sound designer has invested in three Titan interfaces and linked them to his Pro Tools HDX system. . . . (13th October 2017)
|Prism Sound's Studio Sessions Take Interactive Learning To A New Level
The company is building on the success of its Mic to Monitor brand by introducing one-day hands on events in a recording studio environment. . . . (2nd October 2017)
|William Rowe Joins Prism Sound's Sales Team
A recent graduate from De Montfort University, Rowe is delighted to be part of this highly respected pro audio company. . . . (28th September 2017)
|La La Land's Composer Justin Hurwitz Chooses Prism Sound Conversion For His Own Studio
The company's Lyra Audio Interface is giving Hurwitz the flexibility to record solo instruments at home. . . . (20th September 2017)
Subscribe to this as an RSS Feed
See Also: News Archive