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Digital Audio Post

Since opening in 1995, Digital Audio Post has become one of the audio post-production powerhouses of the Southeast, and it has done so by positively leveraging

Since opening in 1995, Digital Audio Post has become one of the audio post-production powerhouses of the Southeast, and it has done so by positively leveraging any number of ongoing technology and business trends in the professional audio arena. Situated on Nashville’s Music Row, DAP has developed both a strong local market in broadcast, music video and independent cinema, and an increasingly deep penetration into Hollywood and Canadian film markets, thanks to its expertise in ADR recording and editing.

“Nashville has a very large talent pool of actors who work in Hollywood productions regularly,” explains DAP President Michael Davis, referring to, among others, Ashley Judd and Tennessee Senator Fred Thompson. Thanks to DAP’s work on such successful films as Toy Story 2, Eye of the Beholder and Rainmaker, the studio is often Hollywood’s first call for ADR sessions. In addition, the company does extensive audio post work on Movies of the Week for CBS, as well as broadcast audio post for the UPN and CMT networks.

DAP has chosen Pro Tools as its main digital audio platform, which not only provides compatibility throughout the post-production community but also allows fast and efficient throughput at the facility. “All the digital systems here are completely integrated,” says Davis. “As opposed to the assigned-task types of rooms that are common in other post facilities, from a single studio we’re always just a click away between ADR, Foley and other applications. This is a single-worksurface environment here, which is extremely efficient. And when we need a multiple-room style of post, we’re able to expand via Ethernet into adjacent studios as needed.”

That, combined with an extensive background in both music and nonlinear video editing, gives DAP a depth of expertise on a par with much larger facilities. Designed by Davis, with acoustical consulting by Michael Cronin, DAP also combines significant ergonomic and acoustical efficiencies.

As the result of a merger in 1999, DAP became a division of Emerald Entertainment, the largest studio facility in the Southeast. While it operates as an autonomous entity, DAP has access to the extensive technological and managerial benefits of Emerald, including its various recording, mixing and mastering studios, as well as Emerald’s broadcast and promotional services. DAP will also apply its post expertise to Emerald’s newest ventures of Internet content development, Webcasting and now DVD authoring via its sister company, Post Digital, headed by Perry Trest.

“Every format and skill needed for most audio production and post-production is readily available within the Emerald system,” says Davis. “And working within the Emerald system has allowed DAP’s own expertise to flow both ways, bringing post-production services to music projects and a highly evolved sense of music production to post work.”

Just as important, though, is the fact that DAP offers what Emerald Entertainment CEO Joe Romeo has dubbed the “Emerald Advantage.” “Few other facilities in the world can offer the wide range of services that Emerald can,” Romeo explains. “And even fewer can do them as well.”