Using Mackie Active powered studio monitors, Danetracks
finishes post production sound editorial and design on
Matrix Reloaded and turns attention to The Matrix Revolutions
||L to R: Dane A. Davis (Sound Designer/Supervising
Sound Editor), Eric Lindemann (Sound Effects Designer), Julia
Evershade (Supervising Sound Editor)
Four years after
The Matrix hit the theaters, revolutionizing the special effects
world and becoming a cult classic, The Matrix: Reloaded hit the
big screen earlier this year... with enormous help from Mackie HR626
Active Studio Monitors. The core group of characters from the original
smash hit - Neo (aka Thomas Anderson), Morpheus, Trinity and Agent
Smith - all returned for another big-screen battle between what
is truth and what is fiction.
as far as production, what happens sonically with the movie off
the screen is the true battle for what is real and what isnít. For
The Matrix movies especially, the post-production process
is perhaps the most important part in creating real-sounding effects
to complement the on-screen action. In order to achieve that, the
Wachowski Brothers and Joel Silver tapped Danetracks, Inc. - a sound
editorial facility in West Hollywood - for the post-production sound
editorial and design on The Matrix Reloaded. Danetracks
also worked on the first Matrix movie and is currently working on
the third Matrix film, Matrix Revolutions.
A. Davis, Sound Designer/Supervising Sound Editor for The Matrix
Reloaded, and the rest of the Danetracks crew recently equipped
their studios with Mackieís newest monitor, the dual 6-inch HR626
Active Studio Monitor, and he claims the HR626
monitors give him sound true to his mix.
sounding even and good to me, I trust the Mackies to tell me a truth
that gets revealed on the final mix stage," commented Davis. "The
worst thing for me is to hear details and harmonics in my own sound
design studio environment that completely disappear when they project
from the big theater speakers and have other layers superimposed
onto them. I have yet to be surprised by harmonics or textures of
my sounds on the dubbing stage that I did not hear previously in
my studio from the Mackies. They are a great "preview" speaker to
founded Danetracks in 1986. During the 17-year history of the company,
Davis has been Supervising Sound Editor/Sound Designer for an average
of four films a year with The Matrix films, 8 Mile,
Treasure Planet, Thir13en Ghosts, Red Planet,
and Boogie Nights among his 80+ feature film credits.
continued, "A big part of making sound effects that will 'read'
when incorporated into a mix with hundreds of other sounds and musical
instruments is knowing how much 'cut through' each sound has, meaning
that its acoustic essence wonít easily be masked out. On a soundtrack
as dense and complex as The Matrix movies, we need to hear
all of our elements accurately ahead of time. Any clarity and definition
we hear in our own rooms that is illusory by the standards of the
final mix stage actually works against us. The Mackie HR626s,
because they are a great nearfield approximation of a movie theater,
help us make sounds that will realistically add to the whole of
Lindemann, Sound Effects Designer at Danetracks, played a key role
in the current Matrix film. Lindemann, who has worked on such films
as The Matrix, The Green Mile, and Red Planet
among many others, is currently working with Dane on
The Matrix Revolutions. Lindemann, too, was impressed with
the sound of the Mackie monitors.
hearing about the new Mackie
HR626s I decided to audition a pair and was so impressed that
I decided to buy a pair for my design studio for The Matrix
Reloaded. This is one of the most challenging projects of my
career, and the accuracy of the new 626s
has played a major role in translating my work to the big screen,"
Lindemann noted. "I designed a large part of the effects including
the guns, graphic displays and titles. The HR626s
sounded very accurate and did not over-emphasize any one part of
continued, "You could say that these monitors donít have a personality
- they are very neutral. They clearly reveal what is good - and
also whatís not so good - about the mixes. Their ability to resolve
micro-dynamics enables me to more accurately apply EQ and compression.
Also, these monitors translate very nicely to the re-recording stage.
The integration of the highs, mids, and lows was seamless. They
produced an accurate, stable image with a great deal of detail.
For The Matrix Revolutions Iím using five 626s
in a classic equidistant 5.1 channel surround orientation with the
handling the LFE channel. The Mackie sub's seemingly endless low
end extension lets me accurately hear and feel the foundation of
Paul Hackner, Chief Engineer at Danetracks and a long-time Mackie
user, initially bought a pair of HR626s
to add to the studio during the early sound design stages of
The Matrix Reloaded, he trusted that they were what the studio
needed for this large-scale project.
"We bought a pair of Mackie
HR626s on pure faith and some of the positive magazine reviews
- they delivered what was promised and then some," stated Hackner.
"We proceeded to create almost of all of the 5.1 sound design for
the film with the 626s, and the translation to the large dubbing
theater was phenomenal."
Hackner continued, "They provide a microscopic
clarity that is needed for serious music and post-production work
in the small room environment. When monitoring with Mackies, the sound
designer is able to focus on the creative process and transcend any
other technical challenges. All in all, Mackie self-powered monitors
are better than any monitor in their price range and compete with
many products twice their price."