Prism Sound’s Atlas USB audio interface is making a name for itself at London’s Matrix Studios where two internationally acclaimed composers have chosen the unit for their own recording rooms within the complex.
Stuart Roslyn and Vasco are both delighted with their purchases, stating clarity, depth of sound and ease of use as key reasons for their choice. In both cases the units were supplied by Prism Sound dealer Kazbar Systems on the recommendation of Kazbar’s director Gavin Miller.
Based in Parson’s Green, Matrix Studios acts as a creative hub that provides office space and studio facilities to over 30 companies. Stuart Roslyn set up his studio at Matrix in 2008, while Vasco made it home for his production company, Daydream Music, in 2010.
Both composers have an enviable list of clients and projects to their names. Roslyn has written hit songs for the likes of Paul Oakenfold, Leona Lewis and Jessie J, tackled film projects for companies such as Warner Bros and Dreamworks and has a highly successful collaboration with Pete Tong, entitled The Firm, which focuses on trailer and film music for some of the biggest trailer companies in Hollywood. With over 100 TV and film credits ranging from Panoramas, Dispatches, and Masterchef, to Kevin & Perry Go Large and Brigit Jones’ Diary, Roslyn has written for most major TV channels in the world. He is currently working on an album for Arrow, who recently released a single with Naughty Boy and Beyoncé.
Vasco also writes music for TV, film and advertising and has had a long standing and successful relationship with EMI Production Music. His music has featured on many high profile TV advertising campaigns, including KFC, Virgin Trains, Hovis and BMW, while his production music has graced numerous television programmes including The Secret Millionaire, The Oprah Winfrey Show, A Place in the Sun and American Idol.
Stuart Roslyn first discovered Prism Sound audio interfaces when Pete Tong left his Titan interface in Roslyn’s studio. Naturally Roslyn used it, and sorely missed it when Tong took the unit to his own studio in Los Angeles, leaving Roslyn with only his old sound card for company.
“I noticed a huge drop in quality so decided it was time to upgrade,” he explains. “I had several big orchestral projects coming up and needed to make sure I was in the best possible situation to get the best results. I spoke to Gavin at Kazbar and we discussed options. We agreed that the Atlas was the best interface for me. Gavin had just supplied me with my Focal Trio 6’s and it’s a great combination.”
Roslyn programmes in Logic X and mixes in Pro Tools. His main mac is connected via ethernet to a PC server, which runs all the orchestra (Vienna Ensemble Pro). He also has SSL mix bus, a ‘trusted’ Mackie 24/8/2 and the Slate Digital range of plug-ins, all of which are firm favourites.
“When I installed the Atlas, I kept my other interface connected so I could A/B them,” he adds. ” The difference is night and day. With Atlas, the high end is clear and present, and the bottom end is tight and defined. Another major difference is the stereo imaging, which actually makes my old soundcard appear out of phase! It’s so easy to mix now. Having such a high level of output – and with many projects I’m involved in on strict deadlines – I need to make sure my mixes are accurate. Mixing through the Atlas has really helped with this, because what I put in is what I get out, and how it sounds in the studio is how it sounds everywhere else – which of course is vital when mixing. I’ve also noticed that when I’m recording acoustic instruments, the pre’s are great – pure and clean. The Atlas has 8 mic pre’s, which makes it very flexible.”
Vasco was also introduced to Prism Sound audio interfaces by a friend, and after hearing one in action he was so impressed that he bought one for himself.
“It was the clarity and depth of sound that really sold it to me,” he says, “plus the fact that, in all honesty, it looks quite cool!”
Launched at NAMM in 2014 as a complement to Prism Sound’s Orpheus, Lyra and Titan audio interfaces, Atlas offers the same no-compromise design and acclaimed converter performance that users have long come to expect from Prism Sound’s high quality audio products. Designed with Prism Sound’s latest and award-winning CleverClox clocking technology and incorporating eight of the company’s popular mic pre’s as standard, Atlas is aimed squarely at multitrack recording applications and offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz.
Prism Sound has recently announced the launch of a new MDIO-HDX expansion module for Atlas, which allows multiple units to be connected directly to an AVID Pro Tools HDX or HD native system via AVID’s “Digilink” connection. This module will ship in January 2016.
About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio hardware and software for music and sound production for the music, film, television, radio and multi-media markets and a range of specialized measurement equipment used in audio equipment development, manufacturing, system building and maintenance. The company’s product range includes a range of audio interfaces covering applications from desktop or mobile recording & production to major studio facilities; Prism Sound also produces the SADIE audio production workstation software used by major national broadcasters such as the BBC, as well as many of the world’s leading mastering houses and classical or live music recording engineers. Prism Sound measurement equipment is used to measure the performance of either audio electronic devices or electroacoustic devices and is well established in major manufacturing sectors such as automotive electronics, headphones and headsets as well as professional audio.
For more information: www.prismsound.com