Las Vegas, NV (October 6, 2022)—Studio and live sound engineer Rick Camp has upgraded his Master Mix Live facility in Las Vegas, which supports studio and remote mixing and remixing of immersive and stereo music, with a new Solid State Logic System T S300-48 console.
Camp’s upgrade is a response to the surge of consumer interest in Dolby Atmos Music streaming through platforms such as Apple Music and Tidal; it also enables him to focus on live concert productions, including his own live immersive project, which is destined for the Las Vegas Strip, as well as film premixing.
The System T replaces an analog desk at Master Mix Live that was not designed for immersive music mixing. Camp started the school about a decade ago for the teaching of intensive live audio engineering courses as well as studio and broadcast engineering. “I’m not an in-the-box kind of person; I never have been,” he says. “I did my research due and diligence and found out that System T has a 7.1.4 mix bus, unlike pretty much any other console out there, so I said, ‘OK, this is the way to go.’”
Camp, an accomplished musician and Berklee College of Music graduate, has always worked both in the studio and on the road since starting his career in Ohio 40 years ago. Over the decades, he has owned and operated his own production facilities and has toured with an extensive list of A-list clients, from The Whispers, The Temptations and Barry White through Beyoncé, Madonna and Jennifer Lopez. Along the way, he has also recorded and mixed a variety of live concerts by several of his touring clients for release in 5.1 on DVD.
Rick Camp and Master Mix Live
Camp has integrated his new 48-fader, dual-operator System T S300 with an assortment of SSL Network I/O interfaces that provide access to and from the various audio transport systems in the room. The S300 is configured to remote-control any other SSL System T console in the world using SSL’s proprietary control protocol over the facility’s VPN network.
“The real reason I bought the System T was for my project that I’ve been working on for six years,” Camp says. When he began work on the project, he says, immersive technology was not yet as accessible as he needed it to be, especially the Dolby content creation tools. “Five, six years later, all of that is built into Pro Tools. I’m also using the Dolby Atmos Mastering Suite, which is a standalone program,” he says. “This immersive project is huge — I’m probably running 700, 800 tracks.” The live production, which he plans to stage on the Las Vegas Strip, will be anchored by another SSL System T, he says.
