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Filipetti Nabs Grammy with JBLs

Frank Filipetti used his Harman JBL LSR6300 Series studio monitors on two Grammy-nominated projects this year.

Northridge, CA (February 29, 2012)–Frank Filipetti used his Harman JBL LSR6300 Series studio monitors on two Grammy-nominated projects this year.

An Evening With: Dave Grusin, nominated in the category Best Surround Sound, is a live recording that captured a 75-piece orchestra performing a collection of 12 songs by Grusin, Gershwin, Bernstein and other composers, with guest artists including Jon Secada, Patti Austin, Gary Burton and others. “Producer Phil Ramone and engineer Eric Schilling recorded the concert and I did the mixing and mastering,” Filipetti said.

“The challenge here was taking this large ensemble of instruments and performers and bringing clarity and focus to all those open mics in a 5.1 soundfield. Trashing a prime directive of recording, I knew from the start that I was going to need to pan the instruments in a way totally at odds with the stage setup. But to do that and keep things from smearing, I needed to be absolutely sure I heard every element of the mix accurately. Accurate monitors are even more important in mixing for 5.1 than they are in stereo-any inaccuracy is now tripled! And the JBL LSR6300 monitors deliver accuracy in spades.”

“You can’t record, engineer, produce or mix anything well without an accurate sonic reference,” Filipetti continued. “If you can’t trust what your monitors are giving you, you’re always going to be working against yourself and everything you do will be a crap shoot.”

Filipetti also recorded and mixed The Book of Mormon, which earned a Grammy Award for Best Musical Theater Album. “Recording The Book of Mormon was very challenging because of the number of open microphones in close quarters [especially the singers], which magnified phase issues and other sonic difficulties,” Filipetti said. “Having accurate, high-resolution monitors like the LSR6300’s was absolutely critical. We needed to be able to hear every nuance of what the mics were picking up both on and off axis before ever hitting ‘record,’ as there would be no time to fix it in the mix.”

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