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CTD Takes PFS Upstairs

Carl Tatz recently visited Oklahoma's Upstairs Productions to implement his PhantomFocus System monitor tuning protocol.

Nashville, TN (May 15, 2012)—Carl Tatz recently visited Oklahoma’s Upstairs Productions to implement his PhantomFocus System monitor tuning protocol.

“As Carl will attest, I was a hard sell,” says studio owner, engineer and producer Ted Curtis. “I had serious problems and doubted anyone could fix them. And the results? He knocked it out of the park! It’s simply incredible. The only regret is I wish I had done it sooner.”

“Ted has amazing ears and was determined for us to step up to the plate after being so disappointed in the past by everything he had tried to make his monitors sound the way he wanted them to,” says Carl Tatz, of Carl Tatz Design LLC.

Tatz explains, “This was a textbook example of breaking the myth that having a well-designed control room, whether designed by me or another designer, along with great monitors, will render great monitoring. The fact is that the monitoring will never begin to approach the sonic impact and accuracy that the PFS can deliver—not even close; and keep in mind that most of these systems are nearfield.”

“Before we started, I had an 18 dB tight cue dip at 125 Hz, a mountain range dip between 35 Hz and 50 Hz, a large bump at 20 Hz, and several other issues in the 500–1550 Hz range and 3k to 4k range,” says Curtis. “It was simply awful. It took many trips to the car to get it right—if you even got it right then. By that time, you had completely lost perspective and lost all of your confidence.

“I’m glad to say now, for the first time in my life, I hear exactly what I mixed in the control room in both cars, absolutely no surprises. It’s really exciting if not a bit scary. I don’t have anything to blame anymore. I’ve already come a long ways in the confidence department in the short time I’ve had the PFS installed.”

Carl Tatz Design