I’ve always taken clocking technology very seriously. Two years ago I installed the Trinity in my mobile recording system based on DiCiGo SD8 with D-rack, a 96 I/O ProTools-system and a collection of the greatest microphones of all time.
Earlier this year Antelope and SLSX gave me the 10M to test. My first reaction was: “what the **** is happening!!!” I had no EQ’s and the sound was noticeably more “open”. I took the 10M unit on three separate occasions to evaluate different sessions, and every time the conclusion was same – Less EQ processing needed. After the last test, I took the 10M/Trinity to my mixing setup. I changed the system clock in the middle of the mixing session. The difference was very audible; the sound was more detailed, transparent and three-dimensional. Mixing is much easier with this clock – especially vocals are more “in your face”. I even made a blind test with my client and he told me exactly the same things that I first noticed.
Especially in classical music sessions, my setup sounds more transparent. A few weeks ago, a well-known Finnish conductor Okko Kamu came to the studio to listen to a 5.1-roughmix from a concert I recorded. He said, “the recording is done very well and the sound is great”. I said, “There is no EQ’s or any other processing in it; I haven’t done anything yet”, “Do not change anything, this is ready!” he commented.
Now I have a very accurate system, wherever I’m recording or mixing, the 10M/Trinity-combo is always there for me.
Tomi has more than 10 years years experience in the music industry. He is an audio oriented gearholic, recording engineer, producer, surround sound preacher, drumtech… He is familiar to all music styles: pop, rock, country, jazz, hardrock and classical! His passion is the surround sound and it’s default in every production.