Although I knew the importance to “clock” from outset, I didn’t especially consider it a priority. But my first reaction after being introduced to the 10M and Trinity was “This is a remarkable difference!” All the dimensions of the sound that were previously omitted – the range, phase, space and clarity – became so evident. Since then, the 10M and Trinity combo has been used in all recording stages, such as tracking and mixing at Syn Studio – which is also my home-base.
But I received another surprise recently after experiencing the Eclipse 384 ! Although I usually mix within ProTools, I was monitoring through the DA of the Eclipse 384 with the 10M instead of through the analog console, and it produced a purity of sound and dynamic range more than I had experienced before, making for stress-free, automatic monitoring.
And also in other work, such as tracking and mixing, I have realized the accuracy and splendid compression and EQ, well above all other products. It seems to bring out the details of the sound that previously I could not detect. In addition, I found I could obtain great results too using the Eclipse 384 in combination with analog devices such as ProTools via Mix Out on a Neve Genesys in our Syn Studios. I can confidently say Antelope Audio’s Eclipse 384, Trinity and 10M will be great support and an integral part of my engineering work in the future.
Takashi Akaku
Chief Engineer
SYN Studios
//syn.co.jp/studios/
SYN – TAKASHI AKAKU
//www.syn.co.jp/about/team/takashi_akaku
MIMITAB – MANAGEMENT CO.
//mimitab.jimdo.com/rec-engineers/takashi-akaku-profile/
