Close ☰
Menu ☰

Chris Lord-Alge chooses Focusrite RedNet interfaces

Posted on: Tuesday 14th of June 2022

Five-time GRAMMY-winning mix engineer Chris Lord-Alge has upgraded Studio A at his MIX L.A. complex for Dolby Atmos work, facilitated by an interface and converter infrastructure based on Focusrite RedNet components. The Dante-networked RedNet setup helps interconnect two Avid Pro Tools workstations and a new 9.1.4 Ocean Way Audio speaker system with Lord-Alge’s beloved Solid State Logic SL4064E mixing console.
Lord-Alge has had to rethink his long-established workflow (read about it in his Resolution V8.6 interview) with the addition of the new immersive audio capabilities in Studio A, where he has mixed and remixed projects by the likes of Green Day, Keith Urban, Madonna, Rod Stewart and so many others over the years. But with encouragement from various industry colleagues, he says, “I decided to make the leap into the unknown and finally eliminate all the vintage gear that was connecting my audio to the console.”
For many years, Lord-Alge’s mixing workflow required projects to be initially transferred to a 48-track Sony DASH tape machine, which he favored for the performance of the converters and the metering (he eventually eliminated all use of tape and just used the machine’s converters). He has now replaced that machine with a Pro Tools HDX rig, operating at 96 kHz/48-bit, that feeds a pair of Focusrite RedNet HD32R 32-channel HD Dante network bridge. Using Dante Controller, Lord-Alge selects the tracks for distribution over the Dante network through four Focusrite RedNet A16R MkII 16-channel analogue interfaces and into the mixing desk. Lord-Alge’s stereo mix from the console is then routed back through one of the A16R MkII units and an HD32R HD Bridge and captured in the Pro Tools computer.
The converters in the A16R MkII units offer a noticeable improvement in performance over the DASH machine, Lord-Alge says, plus he no longer has the hassles of his former setup, where he had to synchronize the DASH machine and two Pro Tools rigs. “Once I figured out what level worked and the headroom, I found the sound of the A16R MkII was much better and clearer and more open,” he reports.
A second Pro Tools system is now dedicated solely to mixing in Dolby Atmos, which is natively 48 kHz/24-bit. “I get a great stereo mix of the record with all my colors of analog gear and an analog console and we break that out. Once I’ve done my stereo mix and I’ve created all the stems I need for Atmos, into computer number two they go. So my Atmos mixes are made from stems that are created with all the vintage outboard gear. Then computer number two with the Dolby renderer becomes my second playback system,” stated Lord-Alge.
“The second Pro Tools system doesn’t need I/O because it’s all in-the-box,” he continues. “All I need is one RedNet PCIeR Card, which gives me 128 channels over Dante at 48/24, connecting through a Mac Mini as the Dolby renderer. So Pro Tools can send 128 objects to the renderer and the monitoring. None of this would be possible without RedNet.” Monitor control of the 9.1.4 speaker rig is handled by Avid’s MTRX system.
While it does take some time to print all the stereo stems from his mix and create a session for the second Pro Tools system for mixing in Atmos, Lord-Alge says, “At this point in time, that is the way that works for me. I use the Atmos computer and the renderer for the object placement and the three-dimensionality of the mix. But for the actual nuts and bolts of creating the sonics inside the mix, I use my stereo rig.”
The MIX L.A. complex is now fully wired for Dante and RedNet, he says. “The whole room is networked with RedNet and so is my new studio next door. We can capture from there; they can capture from here. I’m able to use Dante to connect to my other studios and move forward into the future. And it works seamlessly.”

Latest News & Blog articles

  • The latest version of Pro Tools 2022.9 transforms Dolby Atmos Production Suite workflows, remote collaboration and music creation through features such as ARA2 (Audio Random Access) integration with Celemony’s Melodyne, and Aux I/O for flexible audio routing. Pro Tools 2022.9 also brings a new offering to the previous Artist, Studio, and Flex tiers called Pro […]
  • Here’s a good combination – one of the most prolific, technical and hands-on of our producer engineers [interview Resolution V19.1] has teamed up with innovative developer Leapwing to build a ‘Signature’ plug-in. “After going through the process successfully with the late Al Schmitt, we found ourselves a new challenge, as Joe uses much more processing […]
  • McDSP has announced the release of universal binary versions of the entire APB plug-in line up. [Resolution V18.4 reviewed the innovative McDSP APB hardware host] McDSP APB plug-ins can now run natively on both Intel and Apple silicon computers. This release also takes advantage of recent mac OS improvements in graphics rendering for both Intel […]
  • Built on core technologies from Synchro Arts flagship Revoice Pro application [review Resolution V17.7], RePitch enables adjustment of the pitch, timing and volume of any monophonic vocal (or instrument).  When you’re simply looking to retune a wayward vocal, just load one of the task-orientated macros to instantly snap your singer to the key and scale of the […]
  • Spherix is a suite of two plugins – a compressor and a brickwall limiter – designed from the ground up for fast, efficient work on the beds (fixed channels) of immersive 7.1.4/7.1.2 mixing environments such as Dolby Atmos. The $199 Spherix suite offers dynamics that are specifically designed for immersive mixing.  Spherix’s quick-access controls, available […]
  • Designed to adapt to changing production needs, Calrec’s Argo is a new approach to audio mixing, with a flexible control philosophy that breaks the traditional geographic ties between processing and control. Argo is fully modular with interchangeable hardware panels and uses Calrec’s time-served Assist UI at its core. This means that whether you are working on […]
  • iZotope has released the latest version of their audio restoration software RX 10. Notable additions to a generally-improved suite are the new Repair Assistant module and improvements to both the Spectral Recovery and Dynamic De-hum modules. The Text Navigation and Multi-Speaker Detection features are a potentially ground-breaking development for audio pros working in specialist fields, but are […]
  • Genelec has added Stockholm and Helsinki to its global network of Experience Centres. By visiting these new facilities, customers will receive expert personal advice on Genelec loudspeaker solutions, and enjoy an exceptionally high quality critical listening environment, from stereo to immersive. The new Nordic locations join existing Genelec Experience Centres in Europe, America and Asia […]
Translate »