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Manny Sanchez Flies the Flag for AoIP

Manny Sanchez now has a home-based personal studio outfitted for 7.1.4 Dolby Atmos immersive mixing with an AoIP infrastructure.

Manny Sanchez mixing live broadcast audio at the Sahara Tent at Coachella 2024 Photo credit: Shane Hendrickson
Manny Sanchez mixing live broadcast audio at the Sahara Tent at Coachella 2024
Photo credit: Shane Hendrickson.

Los Angeles, CA (May 28, 2024)—Having started his career working with analog equipment, Manny Sanchez now has a home-based personal studio outfitted for 7.1.4 Dolby Atmos immersive mixing with an AoIP infrastructure.

“I started out on analog; I learned tape machines, I cut tape. Those things were second nature to me, so I went kicking and screaming into my first Pro Tools experience in the ’90s,” Sanchez recalls. “Getting to this point, where I’ve got audio-over-IP and Dante, if you had asked me 20 years ago, I would have said there’s no way I’m doing that. I was such a brat about it all. But with just a little maturity and a little more knowledge, it’s come to make my workflow just so much easier and so much more solid.”

Sanchez started out as an intern at Chicago Recording Company (CRC) before building his own I.V. Lab Studios in the city, eventually relocating to Los Angeles where he is currently the senior audio engineer at Paramount+, working out of his home studio. He initially installed a Focusrite Red 8Line interface in his personal studio, taking advantage of the unit’s built-in monitor control support for formats up to 7.1. As he eyed an upgrade of his room for immersive work, Sanchez started to crunch the numbers: “Ultimately, I just had to add a couple more pieces of equipment from Focusrite to make it all work well. It’s just perfect, and RedNet is so easy to use.”

 

To configure the room for Dolby Atmos work, he upgraded to the Red 16Line and added a RedNet D16R Mk II 16-channel AES3 I/O as well as a RedNet R1 desktop monitor controller. The D16R, which offers 16 channels of AES3 I/O, was critical to integrating a 12-channel Trinnov D-MON into his monitor setup, he says.

Since 2014, Sanchez has also mixed the live broadcast audio from the Sahara Tent at the Coachella music festival, working for Springboard Productions and company president Hank Neuberger, who was once his boss at CRC. Chris Shepard, chief engineer and owner of American Mobile Studio and another CRC alumnus, oversees the festival’s other stages for broadcast. Sanchez works out of a truck provided by Media Stream Wave, which is run by Azuolas Sinkevicius, yet another former CRC engineer.

This year at Coachella, Sanchez made a relatively small but significant change to his mixing setup in the truck, he reports, integrating Dante-networked RedNet 6 and RedNet D64R units into his workflow. The change eliminated the default sample rate mismatch over MADI between his setup and the live sound desks. “It was the most successful technical experience at Coachella that we’ve ever had,” he reports.

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