Two Horus converters were used, the first handled the suspended microphones and the second was placed on-stage to take the feeds from the microphones in the orchestra. In the control room, Pyramix with MassCore was being controlled by an Avid MC Control and MC Mix. A DirectOut Producer.com handled the monitoring, red light, talkback and headphones with a custom built MADI sampling rate converter to convert from 352.8 to 176.4 kHz. The monitoring was provided by Sennheiser HD800 headphones and PSI A21 active loudspeakers.
Microphones in the hall were a mixture of Neumann, Schoeps and Sennheiser with three Neumann TLM50 omnidirectional mics mounted on a Grace Design Decca Tree. Top quality condenser microphones need the best quality mic pres and the choice of Horus ensured that this was the case. "We were absolutely amazed by the sound we heard from Horus. Compared with other systems we have used the dynamic reproduction was so detailed. It was free of any harmonic distortion and the extremely low noise floor was very noticeable on the pianissimo sections." These comments from experienced producer, Vegard Landaas, echo the comments received from so many of the most discerning recording teams worldwide. Thomas Wolden added: "This transparency coupled with the advantages of recording in DXD achieved the result we were dreaming of. Memorable performances demand this level of quality and Merging has provided the tools yet again."
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