WWE Relies on Summit Gear

With numerous weekly programs such as Velocity, RAW and Smackdown!, and countless DVDs, home videos and Pay-Per-View events, World Wrestling Entertainment 6/20/2003 8:00 AM Eastern

With numerous weekly programs such as Velocity, RAWand Smackdown!, and countless DVDs, home videos and Pay-Per-Viewevents, World Wrestling Entertainment (WWE) is responsible forprocessing a heavy audio/video workload that is intense anddeadline-driven. Having sweetened and polished the audio for variousWWE programs, video games and home video/DVDs, audio post engineer TimRoche has been working with Summit Audio’s DCL-200compressor/limiter and MPE-200 preamp/EQ.

"We have such a high turnaround here that anything that will save mefive minutes is a plus," said Roche, who recently completed the WWEhome video/DVDs Divas Desert Heat and Rey Mysterio Jr.."Working at WWE, audio is always a challenge because the shoot could bein an arena or walking down the street with The Rock. Or worse, theair-conditioning duct at the arena. So I’m always challenged withEQ and compression and the Summit Audio equipment, I can’t raveenough about it.

"The MPE-200 is a great box and helps me a great deal," Rochecontinued. "I go through and spend a few minutes individually with thetalent, so I know this guy is preset one, this guy is preset two. If Ihave a guy who is a screamer and another who has more bass in hisvoice, I don’t lose time adjusting my settings because I can justdial it up instantly. Also, I really like the MPE-200 because the unitis totally sweepable and I can go in there and just tweak it. Mostly Iuse it for voice-overs."

Roche is a self-proclaimed analog "throwback" who desires the warmthof the older tube compressors. The ability of Summit Audio’sDCL-200 to emulate these vintage units while subtly applyingcompression made Roche’s gear selection an easy one. "I love theway the DCL-200 sounds when you drive it really hard. I’m a bigfan of compression and this unit comes across so warm and smooth.Another aspect of Summit Audio gear that I like, specifically theDCL-200, is that I can never hear it breathing, which is ideal."

For increased flexibility, Roche also uses a function on hisEuphonix console that locks his faders in place, so that even if heaccidentally slides one up or down, the console returns them to theiroriginal preset position. This feature helps to alleviate anotherpotential time-consumer: patching.

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