Category: Post Production

So for the second day of AES, I focused mainly on Avid and Portable recorders. Let’s talk about Avid first.

So ProTools 9 and tons of new fancy interfaces. This has probably been the most talked about topic amongst sound professionals for the past month. TONS of rumors floating around (many of them surprisingly true). So what’s the biggest news about PT9? No more LE and no more hardware! No hardware you say? YES! Shockingly (because I know Avid, not because of common sense), you don’t need to own ANY Avid (or Digi) hardware to run Pro Tools. Actually, you don’t need any hardware at all… you can run it straight off your laptop’s internal mic and headphones output if you’d like. It’s just that easy now.

Other cool news? You can have (almost) all of the functionality of PTHD in PT9 when you add on the CPTK (Complete Production Toolkit), which is a $2000 option. The CPTK does a number of useful things, including increasing your audio track count to 192, instrument tracks to 128, video tracks to 64 (why?), adds up to 7.1 surround mixing (yes, they took surround mixing away from the lower version of PT again…), VCA mixing, advanced automation, more TC options and a few other cools things.

PT9 adds a SMPTE timeline, OMF support, auto delay comp, 192k sampling rates, of course the universal hardware deal I’ve already mentioned, and a bunch of other nifty features. Finally, Pro Tools seems to be a piece of software that can meet (almost all of) my needs and doesn’t force me to use their hardware. I’ve been waiting for this one for a while.

Also – Eucon support. All Euphonix surfaces work delightfully well with Pro Tools (natively – not through HUI anymore.) Just be prepared to upgrade firmware and such to get the surfaces to play nice – but once they do – all is fine and dandy from there on out!

Now, is it stable? It appears to be so far. Despite the rush to deliver before AES and reports of a very buggy PT9 just weeks before shipping, I’ve heard very few complaints. Still, I would give it a few weeks at least to see if they keep that up.

Mbox 3 Family and MC Control

So lets talk hardware. Obviously you know about the Avid Omni already – that was announced months ago, so I won’t spend too much time talking about it. Let’s talk about the new Mbox 3s though. They were announced a little big ago, but until now, not too many people had seen them. First thing I noticed – they are incredibly heavy! Avid has changed from the polycarbonate body to a 1/4″ metal body. I don’t exactly know why – but I was told by an Avid rep that it was customer preference. Although he also mentioned that the older style polycarbonate ones were more durable… I know the whole thing about “the heavier the audio gear is, the better it must be!” but I don’t think that really applies to wrapping the gear in a thick metal casing… So, while I was very excited about the prospect of buying a new Mbox 3, I’m now slightly less excited because I’ve realized it weighs 7 pounds… not as easily portable anymore. But it’ll do 192k, and sounds MUCH better than version 2. The Mbox 3 and Mini are the same deal – they sound better, but are heavier than their predecessors. I might add that the buttons and switches / pots are much more solid though. Also the Mbox 3 can do 96k now, and the 3 and 3 Pro have random things like a built-in guitar tuner, on-board DSP, etc…

My only gripe is that they all ship with PT8LE and you have to pay $250 to get into PT9. Lame.

I spent a few hours asking questions about and playing with the new hardware and software, so please, if there is something you’d like to know, ask in the comments below, and I’ll do my best to answer it!

Avid Demonstration Setup

Here’s the Avid Pro Tools Post Production demonstration from AES 129 in SF last week. Disclaimer: this is very much a scripted demo and it feels like an infomercial. I take no responsibility to how this effects your emotions!

Avid Post Production Demo – AES 2010

More posts on AES to come later today and tomorrow!

Wow! Tons of stuff going on this week! Big news from Avid, great stuff from many microphone companies, Izotope, and tons more!

The AES trade show floor was considerably smaller than usual, but there was a lot of cool stuff there. If you spent some time digging and talking to reps, inventors, presidents, etc… there was a lot of cool info to be gathered. I did my best at grabbing pics and info about topics and products pertaining to audio post and field recording / production audio. I’ll cover a lot of it here, but if there’s something I don’t cover that you’re wondering about, feel free to ask me if I happened to come across what you’re curious about!

129th AES in SF

I’m going to categorize my posts by topic, so there will be quite a few between here and Sonic Terrain.

Stay tuned – many posts to come this week!


My Industrial sound library, that is. The Complete HD version is 23.54GB! That’s HUGE!!! 281 files, over 5.5 hours of sound! I will be releasing it very soon, so check back for details in the next day or two. For now, here’s a demo of some of the sounds from the library!

INDUSTRIAL 001 Complete HD Samples by Colin Hart

Let me know what you think!

David Sonnenschein – author, scholar, sound designer, and friend of mine – is hosting a 6 week webinar series. I’ve attended a number of his seminars in the past and they are wonderful. I was able to present some of my work during one of the sessions and got live feedback from David as well as many of the other designers attending online. It’s cool being able to get feedback from other professionals in that manner.

Anyways, here are the details for the series:

SOUND DESIGN FOR PROS – Free Intro Webinar Aug. 24
presented by David Sonnenschein, author
Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema

Live and interactive on Tuesday Aug. 24, 9-10:30am PST
Recording available to view anytime after Aug. 24.
FREE Registration here:

This free Intro Webinar will give you an overview of topics essential for the creative, professional sound designer that will be covered in detail in the upcoming six-week webinar series beginning Sept. 8. You will see and hear audiovisual demonstrations that will stimulate your auditory mind and sharpen your abilities to produce powerful soundtracks. We will also have an open chat for your questions related to sound design.

* Master theory and application of your audio craft to become an in-demand professional
* Discover tools and tricks to find an expressive voice and maximize your creativity
* Impact the audience effectively on intellectual, emotional and visceral levels
* Build successful communication skills with job-hiring producers and the post team

1. THE INTELLIGENT EAR – Listening Modes, Sound Qualities and Bipolarities
By deconstructing the listening experience into discrete elements, the grammar of sound design language gives you access for clear and powerful communication.
2. PLUG-IN POWER – Size, Distance, Speed and Non-Physical Reality
Understanding principles of real world acoustics and palette of subjective auditory experiences offers you enlightened use of digital processing tools.
3. RULES OF the BRAIN ROAD – Psychoacoustic Principles and Applications
When the curtain is lifted on how humans process auditory information, you master the art of sonic illusion (creating and hiding) as essential tools in sound editing.
4. SONIC TIME-SPACE CONTINUUM – Soundscapes and Sound Spheres
Creating an effective cinematic space depends on familiarity with your physical and social environment, and the knowledge of how to psychologically orient yourself through audio.
5. AUDIO BUILDING BLOCKS – Constructing Sound Events and Sound Objects
Mastering techniques of sequencing, layering and mixing will infuse sonic fragments (sound effects, words) with meaningful messages (sound phrases, sentences).
6. PEOPLE, PLOT AND PASSION – Narrative Structure and Sound Mapping
Bottom line, how can sound help tell your story? By understanding dramatic elements of character and emotion, the map can guide you to creative and impactful decision-making.


David Sonnenschein’s book is legendary, and the interactive webinar which presents and analyzes examples of the theory, truly brings the material to life. – Nathan Moody,

David gives a lot of fantastic theory and examples about the emotional and technical side of sound design with detailed explanations, presentations and audiovisual material. If you enjoyed David’s book you will love his webinars. – Miguel Isaza,

David Sonnenschein is without a doubt an expert on sound design for film, television, and multimedia projects. His impressive knowledge and easy-going personality make his classes both informative and enjoyable. – Joel Krantz, Sound Editor/Mixer and Author, Pro Tools Post Production Techniques


If you can’t make it to the live event, you can watch the recording anytime after August 24. Registration is the same for the live and recorded webinar.

This free event is an intro to a six-week webinar series that will begin on Sept. 8. For more info go to

I hope to see you there!

So, as many of you know, one of my favorite shows on Television is “Fringe” on Fox. It is an absolutely terrific show.

As you probably know, the Emmy nominations came out a few weeks ago, and I was thrilled to hear that Bruce Tanis was nominated in the area of Sound Design on “Fringe”, as well as for an HBO film he worked on. I’ve been getting to know Bruce over the past few months (amazingly nice guy). You can read an interview I did with him a while back on the sound design of “Fringe” here. Anyways, Bruce just finished up writing for Miguel for a month over at Designing Sound, so I figured while his fingers were still warm I would ask him to write up a blog about what his nominations meant to him and to write a bit about each of the pieces that were nominated.

So here’s what he had to say:

Hi Colin. As you know, I was lucky enough to be nominated recently for a Sound Editing Emmy Award for this past television season. Actually, I was even luckier and received TWO nominations! One was for sound effects editing on “Fringe” and the other was for the HBO movie, “Temple Grandin”. That was a terrific project and I was really happy to be a part of it although it couldn’t have been much more different in terms of material than “Fringe”. “Temple Grandin” is a biographical film about a real person named Temple Grandin and who has autism but still managed to go through her professional life becoming a highly respected professor and researcher in animal husbandry. The film is very straight forward and takes place mostly in the sixties and seventies with a few whimsical montages that illustrate how her mind sees things that the rest of us take for granted. It’s a terrific story about a very inspirational person.

“Fringe”, on the other hand, is all about alternate Universes, monsters, and things that go bump under your bed. Things like two foot long hookworms and horribly destructive viruses and mind control. I think the part that interests me about these two shows, taken together, is that they represent two very different points along the sound spectrum. One is a very literal film where sound helps tell the story of what actually took place in a particular location and time and the other uses sound to create things that don’t exist anywhere. Both projects use sound effects to tell their story but in completely different ways. I have to admit, I was surprised to be nominated for “Fringe” since there are so many other worthy shows out there but I’m really glad and excited that we made the list!

The episode that got nominated is called “White Tulip” and it features Peter Weller (“Robocop” and “Buckaroo Banzai”), as a time traveling scientist named Alistair Peck. He’s come up with a type of Faraday Cage wiring system that has grown into his body and arms and he uses this mechanism to propel himself through time in an attempt to go back and save his wife from a fatal car crash. He earns Walter’s respect because his design, as disgusting as it is visually, is actually a success. The picture editor wanted some sounds to cut in for the time travel sequences as they developed the episode and their temp opticals were fast-cut fluttery images of Peck as he built up in intensity to the moment of making the “jump” and then winding down on the b-side. I knew his device was electrically based so I came up with some sparking and zapping sounds that I pitch bent up to the moment of jumping and then brought them back down as he arrived at his destination time. These sort of made a wave that crested as he disappeared from out time and washed away as he re-appeared as he re-entered the time stream somewhere else. Since the nature of time jumping is that the jumper moves along the timeline but doesn’t usually move anywhere else geographically, I wanted to try and sell the effect by using vocals that made it seem like he was jumping over other people who occupied the same physical space as him but simply at a different time. I took some pieces of the production dialog and, again, pitch bent them to wind up and down and also treated them to have a delayed chorusing so that they vibrated a bit in the same was as the picture. There were also the regular whooshes and echoes to heighten the moment of transference even further. At various points during the episode, Peck “jumps” to a time moment that we’ve already seen but each time it’s just a little bit different because Walter has begun to piece together what Peck must be doing and, as he understands more and more, he begins to affect the time jumps as he gets closer and closer to catching Peck in the act. This was handled by using the exact same elements each time but adding something slightly different so that we know that, very subtly, even though we’ve seen this exact set of events before, this time the sequence is unfolding just a little bit differently . . . .

This was a really fun episode to be nominated for because time travel is such a staple of science fiction programs. Certainly, each “Fringe” episode had something interesting in it but I like this one because it goes so far back through a lot of terrific films and TV programs as one of the Grandfather story devices. I love the irony that this show got nominated for a time travel machine that was first used so long ago and has now looped back on itself!

Thanks so much Bruce for sharing!

You can download this episode of “Fringe” here. (iTunes link)

NOTE: I do not get any procedes for click-thru’s or purchases. I support “Fringe” because I’m a loving fan!)

P.S. I have not forgotten about my boom operation post! It is almost finished and is coming soon!!!

Social Sound Design has quickly become my go to place for all of my sound design questions. It is a great forum. One of the things that makes it truly great is the high concentration of professionals who actually know what they’re doing, aren’t afraid to say they don’t know, and aren’t afraid to ask for help. Also, there is a complete lack of flaming there. I used to frequent some of the other sound forums out there, but I just can’t stand the flaming or derailing of users’ threads. SSD is completely different. It is a very professional, courteous environment.

I’ve been a member for a bit over 3 months now. There have been some great questions and some great answers. I’d like to take a few minutes to list some of my favorites.

You Know You’re a Sound Recordist If…

Foley Recording Musts

What would sound sound like at the speed of sound?

Listening to Your Own Work

Video Files, Frame Rates and Codecs Oh My

What Does A Boom Operator Do?

Got Any Stories About Dangerous Recordings?

There are so many more good ones. Obviously I won’t post all of them – that would be silly. There are some great resources on this site. Ones that are very difficult to find elsewhere. It is also promoting the overall trent of “Sound Community” where designers are getting together and sharing resources. Great stuff going on here!

A big thanks has to go out to Andrew Spitz, the creator of this site! Such an awesome job dude! Check out Andrew’s blog as well, {sound + design}

About two months ago I was asked to do the sound design for the intro and outro (story sections) to a music video. It was a zombie themed video, which I was excited about, but I had no experience with zombie movies or video games before, so I didn’t have much of a reference point to work from. I spoke to one of the Co-Directors (who was also the editor) about the feeling he was going for on the video. He mentioned “28 Days Later”, “28 Weeks Later”, “Zombieland” and the video game series “Resident Evil”. Before I watch anything, I put some preliminary sounds that I knew I wanted (some hits, footsteps, eerie tones, etc…) Then I spent half a day watching select scenes from “28 Weeks Later”, all of “Zombieland”, and playing around a bit on “Resident Evil”, to get some ideas flowing.

One thing I wanted to make sure that I did was to stick close enough to the established zombie theme, so that zombie movie fans would relate to it, while putting my own twist on it. I didn’t want it to sound like anything else out there. Also, because this is a music video, I wanted to keep more of a musical sound to my sound design so that it flowed very smoothly into and out of the song.

Here is the portion of the video that I worked on, the beginning and end of the video, edited together without the song part of the video: (the full video is at the end of this post if you’re interested in seeing it)

I was pretty happy with the way it came out. I might change a few things in hind sight, but overall I think it was a great project. I actually was able to present the project at one of David Sonnenschein’s online seminars about two weeks ago, and I was surprised at how well it was accepted. I was flattered!

One of my biggest goals in my sound design is to start transitioning from using solely commercial libraries into using a lot of my own personal library. That was key in this piece. I was able to use a lot of creativity in making unconventional sounds for this one. That’s the great thing about sci-fi. You are able to do anything, because almost anything goes, as long as it stays in the realm of believability.

So I basically started that project saying “I must find a way to make this specific sound work for this piece”. Basically an exercise in creativity. So here’s the sound I started out with. If you are a regular on my blog, you may recognize it from about a month or two ago:

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I love the quality of the reverb in that sound, and the sound of the water falling onto the wooden porch. Full, rich, lots of great sonic content in there. Luckily for me, I had recorded it at 192k, so I had plenty of flexibility with it. So, I decided to play with it. I had a few failed attempts, trying to mix it with other hits, hide it under stuff, just to say I got it in there, etc… Then I thought, what if I slowed it down and made it the “in your face” sound. What if I feature it up front. That would be an even bigger feat to accomplish. So I slowed it down 4x (to 48k). It just sounded like a big gunshot. Wasn’t going to work. So I thought about it, then had an idea. What would it sound like if I slowed it down 20x?

Here’s what it sounded like: (Click here to see a screenshot of the session)

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Awesome! I have my main sound! A sound to dominate the spectrum. And it sounds musical enough to make me happy. I just had to beef it up with a few drums hits and such to make it acceptable, then moved on.

I was happy with that sound, but it was missing something. It had a ton of low end response, but I had no high frequencies. I was at a gig one night, recording a seminar, when I had an idea. Everything was recording on my 744T, so that was good on its own, so I whipped out my laptop and started playing around (don’t judge – it was a single lav into my 744T for 3 hours straight… not much attention needed) Anyways, so I grabbed my laptop, pulled open Logic Studio, and started playing around. I was in an elastic audio mood, I just needed a source sound. So, I armed a track, using my Macbook Pro’s built in mic as the input (I feel you judging again – STOP IT!!!), and just recorded a few seconds of the speaker’s audio in the room. It sounded terrible, but it was a sound to work with. Here’s the original sound:

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Pretty terrible sounding. Although you now know that the speaker’s son is named Caleb. You learn something new every day. So, I now had my sound, and I started playing with it. With the use of Logic’s “Flex Audio”, some crazy compression, and some band filtering, I was able to get this sound to accompany my fire cracker:
(Click here to see a screenshot of the session)

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Sweet stuff! Now we’re cookin’ with gas. When I added this sound into my session, it was the first moment that I felt that the project was coming together in the way I intended it to. Now I just needed to fill out the rest of the backgrounds and then start on the Zombies. That was going to be an interesting one to tackle.

I started with animals. I’ve found the easiest way to make a creature sound organic is to use organic sounds that are just heavily manipulated. So, I started listening to animals. I found a few that I liked. I grabbed some pigs, lions, some goldfinches, I think there’s a few others in there too. I don’t have my own animal library, so I used my Hollywood Edge one for these. I wanted to combine animal and human though. I thought straight up animals would sound like just that – animals.

I remembered that I had a few screams recorded from a bit over a year ago. I was working this gig where we were pulling audience members for participation and placing them in a scene where they had to scream and act as if aliens were going to attack them. I had a whole location rig set up (for show) and I was only using the mixer, but I had a recorder there, it was just in “Vegas Mode”. Then this (gorgeous) girl got up there, and on “Action” she let out one of the most amazing screams I’ve ever heard in my life. Twice. And my recorder wasn’t hooked up because it was for “show”. CRAP! I hated myself for that. So I was on that gig a few more times after that, and each time I made sure to record every single scream. Most were lame, but I did get this one nice one. A little distorted, but it works for this application:

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So I did some processing, added it to a reversed pig squeal, and ended up with this: (don’t have a screen shot :-( )

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So there you have it. A bit of a look into how I made that piece. I hope you found it as informative as I found it fun to do. I apologize for my long-windedness, but I love talking about my work! Hopefully I’ll get the opportunity to talk about more projects in the near future! Please feel free to ask about any other assets that I used or processes I went through to get to my final product.

Thanks for reading!!!

Here’s the full video:

Co-Directors: Philip Walton and Caleb Mallery
Director of Photography: Zack Austin
Editor: Caleb Mallery

A new edition to Mr. Holman’s amazingly informative “Sound for Film and Television” has dropped into bookstores this week. I can’t wait to get my hands on one! It can be yours for $44 plus shipping on

As promised, here is the second half of the interview with Emmy Nominated Scott Clements, Production Sound Mixer from “Burn Notice” on USA:

CH: How helpful are the director and crew when you are struggling with a problem on set such as a generator noise or something (such as a light) preventing your boom op from getting acceptable audio?

SC: In episodic television, the director is more of a guest on set. They are there to put their style into the episode and tell the story the way they want it told. However, we may have a director on one episode that will bend over backwards to help the sound department, and on the next episode it seems the director is creating as many sound problems as they can.

The cast and crew are an amazing help. They know I don’t ask them for something if I don’t need it, so everyone makes every effort to help us when we need it. I couldn’t ask for a better cast and crew.

CH: What is your relationship with the cast?

SC: Like I said a couple of times, our cast is amazing. They are a pleasure to work with and are just part of our dysfunctional film making family. I try to stay off the set as much as possible and let my boom operators deal with set issues. Consequently, they have formed a much tighter relationship with the actors. But I think the entire crew can call the actors their friends and really mean it.

CH: With a decent amount of practical special effects on set (explosions, gun shots, car chases, etc..) do you find yourself recording a decent amount of sound effects on set? If so, how does that effect your relationship with post production?

SC: A lot of the sound effects that happen on set are shot with the second unit. Unfortunately, most of that stuff ends up being MOS. When we shoot those elements with the main unit, we will record what we can and hope post production can use it. Most of the time, the sound FX get destroyed by directors yelling things to the actors, or the FX guys calling the cues. Our post production sound FX guys are amazing and do a great job of building things from the bottom up. If our schedule would allow it, we would make an effort to sneak off and grab more sound FX, but there just isn’t time for much wild track recording.

CH: Do you ever find yourself in a “we only have one take” situation due to practical sfx?

SC: We find ourselves in “one take only” situations all the time. We do so many setups that are one take only simply because the director or actors do not want to do another. But a more direct answer to your question… yes, we do have a few times an episode where we are doing dialogue in the foreground and a house, car, or some other unfortunate object get blown sky high. In those cases, one take is all you get.

CH: How does the final audio that is broadcast with “Burn Notice” compare to the way your mix sounded like on set?

SC: I have talked many times with our dialogue editor and re-recording mixer about how often they go in and pull ISO tracks and things like that. In general, they use my mix, and just smooth it all out. Sometimes, they go in and grab just one syllable from another take to replace the beginning of word… things like that. They do some EQ and compression, and some other magic tricks they have in their bag. I don’t know how they do it, but when I watch the show, I am amazed at some of the scenes and the way they make them sound. There are scenes that we fought for on set, but I was worried we didn’t get. On air, they sound amazing. I love our post production team and can’t tell you how much I appreciate their efforts to make me look good.

CH: How much of burn notice is production mix vs. ADR? Do you do most of the ADR on set?

SC: We have a unique situation on our show. Our lead actor is in nearly every scene, which makes it impossible for him to go to a studio for ADR. So we built a studio at our sound stage with all the charm of an abandoned bomb shelter. We do any Miami ADR that needs to be done, which will generally consist of our four main actors and any Miami based “episode” players. My second boom/ utility, Jacob, handles all the technical stuff/ engineering of the Miami ADR, and does a great job of it. That is also where we do the Michael Westen voice overs that are such a huge part of our show.

For three seasons, the amount of ADR has been pretty consistent. There are usually about sixty lines of ADR for an episode. About twenty of them are for sound quality, and the other forty are added lines and changed lines that help the story telling. If I had to guess, that would be about one percent of the show is ADR due to sound quality. I am pretty sure there would be more if post production could get all they wanted, but they are very kind and understand that we have limited time available for ADR, and they are ok with a little extra noise if it means preserving the original performance. Plus, as I mentioned before, they are wizards of sound… able to perform astonishing illusions of sound.

CH: Do you watch “Burn Notice”? Are you able to relax while watching it?

SC: I love Burn Notice! It really has a quirky fun feel to it. The stories are compelling, and the actors bring some great performances. I generally am able to distance myself from the technical aspects of the show and relax and enjoy. But I still can’t help but think of the problems we went through for a scene, or the crazy thing that happened on set that day. There’s no feeling like sitting down to watch a show you worked on, and by the end of it, you’re able to say, “I’m proud to be a part of that”.

CH: I know you live in Orlando, so how do you balance working in Miami for six months at a time with having a family?

SC: There is no balance. It is impossible to have balance. What you and your family have to do is find a way to survive within the madness of our industry.

CH: One last question; You spend very long days on set, and you endure a great amount of stress day in and day out. What do you do to stay healthy and sane during shooting?

SC: Who said I was healthy or sane? No one in the film industry is sane. If we were, we would find some other job. But the main thing to keep in mind is that we aren’t saving someone’s life, or saving the world. Things are not going to be perfect, and there are going to be problems. As long as you can go home at the end of the day and know you did the best job possible with the given circumstances and situations, you will greatly reduce stress.

Thanks so much again, Scott, for sharing!

Mix Magazine has written an amazing article on veteran Sound Designer / Mixer Ezra Dweck, who has recently been contracted to help design an IED attack simulator for the training of US Troops. He was enlisted to capture and recreate, as acurately as possible, what it sounds like to a soldier inside a humvee to get hit by and IED. That sounds like a difficult, but incredible fun task! “Wait, you mean I get to blow stuff up, AND record it? Then you want me to play it back as loud as possible?” Sounds like a sweet gig to me :-)

The Audio Challenge
For the sound design, Dweck was tasked with coming up with as realistic a presentation of the sound inside a Humvee in patrol and combat situations as possible. The training Humvee will have five soldiers in it — four in the cramped main part of the vehicle, and one turret gunner on top partially exposed through the roof. “My initial idea was to investigate some 360-degree surround speaker systems, but they just weren’t feasible for the space inside the Humvee,” says Dweck. “I went through a lot of negotiations with the guys who are building the thing — a company called Technifex that does a lot of theme park stuff — and what I wound up with basically is 6.1, but not in a traditional layout inside the vehicle. So it’s five speakers in a normal L/C/R, Ls/Rs position, and then there’s a full-range, full-sized speaker mounted in the dash in the middle and a subwoofer in the engine bay where the engine would be. I did a bunch of research to find a full-performance, relatively small driver speaker I thought would work, and I wound up with a Meyer MM4XP for the five. It’s about the size of a 4-inch tile, but about six inches deep. They run on a 48-volt distribution system, but they’re self-powered. They’re good down to about 300 Hz, so I need the full-sized midrange speaker in the middle to kind of balance it out.

“Then on the exterior, mounted on this giant truss that the projectors are mounted on, I also have three speakers [JBL EONs] arranged left-center-right.”

Read the rest over at Mix Online