Richard Fairbanks 使用機材
Richard Fairbanks プロフィール
Richard Fairbanks is the Emmy Award nominated owner of Pharoah Editorial in New York, where he works as a re-recording mixer, sound editor and sound supervisor on TV and film productions.
Richard Fairbanks' mixing credits cover a wide range of areas from documentaries, musicals, live action and animated TV-series to corporate pieces and award winning radio plays.
Fresh out of music school, Richard joined the staff at Chicago’s old Universal Recording Studios, starting as a runner. He stayed and grew for a full decade before moving to New York. That decade and the huge variety of work it brought taught him things that are hard to learn any other way.
Richard is a huge fan of TC Electronic gear, and we got a chance to speak with him and hear more about his career and the gear he uses:
“System 6000 initially found its way to my control room in 1999 or 2000, when I was looking for a Dolby Cat.43 noise reducer for dialog cleanup, having used them for years at larger facilities around town. Dolby had discontinued making them despite their popularity, and our New York distributor of Dolby products was unable to locate one. “There is a new digital box from TC Electronic”, he said, that has a Cat.43 emulation preset built in. Maybe you could take a listen?” A day or two later we A/B’d a System 6000 with a real Cat.43 and proved it could effectively match the Cat’s noise reduction action, but there was so much more!“
“What seemed like hundreds of presets were available to load at the touch of a button. Transparent analog and digital IO, reverbs, delays, pitch shifting, dynamics, it was huge! I knew TC Electronic was a top flight company, so we bought one".
”I now use literally dozens of TC Electronic products. All of them run on my System 6000 MKII.”
Richard is especially impressed with the multitasking capabilities of System 6000: “A single engine, of which there are four, can provide very powerful A/B mono dialog paths with gentle noise reduction, superb de-essing of the most challenging material, EQ and notch filters, and multiband dynamics control on demand. With another three engines remaining, I can run room simulations and effects simultaneously to help shape overall tone and dynamics of the production dialog. Automation control is important, so in order to automate System 6000 MKII I use my DAW’s MIDI facilities. Each System 6000 MKII engine can be assigned to a different MIDI channel. By recording the System 6000 MKII’s MIDI output while adjusting parameters or selecting program changes, automation remains simple. “
“Projects such as up-mix of stereo elements into surround productions - in real-time during a final mixdown - is something I would never have considered before learning about UnWrap (which I recently updated to UnWrap HD)."
"Since I first got it, System 6000 has played a role in nearly every project I've worked on here and continues to do so, being anything from a simple program limiter to a primary component of my dialog chain.”