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DMT Supplies Super Pro Tools|HD System for ‘Looney Tunes’ Recording

Music scoring mixer/producer Bruce Botnick called on DMT Rentals to supply the high-precision recording systems he needed to capture Jerry Goldsmith's musical score for Warner Bros.' new movie

Music scoring mixer/producer Bruce Botnick called on DMT Rentals tosupply the high-precision recording systems he needed to capture JerryGoldsmith’s musical score for Warner Bros.’ new movie, Looney Tunes:Back in Action. The score was recorded with a 100-piece orchestra,plus drums, electric bass and guitar at Warner Bros. Eastwood Stage inBurbank, Calif.

Pictured: The scoring crew at Warner Bros. Eastwood Stage duringdates from left: music editor Ken Hall; DMT president Doug Botnick;Barry Fawcett (Warner Bros. floor man); Richard Wheeler (Warner Bros.cue/floor man); Ryan Robinson (Warner Bros. scoring technical support);Jamie Olvera (Warner Bros. client services, in front); Pro Toolsoperator Tom Graham; Greg Dennen (Warner Bros. scoring recordist); PeteGermansen (Warner Bros. scoring technical support); Bruce Botnick; andDMT’s Brad Cobb. Not pictured: recordist Bob Bayless. Photo: E. J.Annas

Botnick specified two DMT Super Pro Tools|HD system digital audioworkstations, in addition to a pair of Genex Audio GX8500 MO-basedrecorders—one running in 24-bit/48kHz PCM mode and the other insinge-bit Bit Direct Stream Digital for an SACD release—and an iZTechnology RADAR 24 hard disk recorder for backup. The engineer trackedthe output of studio microphones to a large-format DMT Super ProTools|HD System using a sampling frequency of 192 kHz to capture theultraprecision output from an array of Pacific Microsonics Model TwoAD/DA converters connected to his primary Decca Tree Array of vintageNeumann M50 microphones. A smaller DMT Super Pro Tools|HD systemrecorded Botnick’s main film mix.

Regarding his choice of DMT Rentals to supply these multiformatrecording systems, Botnick said, “Anybody can have the equipment, butDMT Rentals are fanatics when it comes to making sure that thesecritical systems perform reliably and consistently; they leave no stoneunturned to ensure that nothing lets me down on a critical scoringdate. I use a number of PMI, Genex and dB Technologies AD122 Gold A/Dlconverters supplied by DMT.”

For studio monitoring Botnick used his Quested LCR systems and adedicated Quested subwoofer. He also used a rack of DMT Rentals’ newAMS Neve Model 1081 Equalizers on his overall orchestral roommicrophones. “The Model 1081 offers EQ curves and settings that aremusically related,” the engineer said. “They let me add gentle overallsound ‘color’ to the room mics.”

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