But that’s not the only reason Universal, Disney, The Village Recorder, Warner Brothers, and more all come to us when they need to buy Avid hardware and software. To fully explain, we’ll need to share a little audio engineering history…
Avid and Westlake Pro’s President, Joe Taupier, have been working together since the early days of the digital audio revolution. When Avid (formerly known as Digidesign), expanded the track count in Pro Tools from eight to twenty-four to forty-eight (Session 8 to D24 to Mix), Joe knew it was what every engineer and musician were waiting for. As a result, Joe attended the first-ever training program in 1999 to learn all about the new multitrack recording/editing system. Having learned how to operate, install, and configure Pro Tools software and hardware systems, Joe was able to help support his clients through the early growing pains of Pro Tools.
Having entered the industry as a musician, he had a lot of friends who were in successful bands. Joe knew how the record labels burdened new artists with the residual costs of the large recording studios. He decided to approach his musician friends about investing in themselves by purchasing a Pro Tools Mix system. His idea was that if it didn’t work out with the label, the band would still have a way of being able to record themselves and develop their craft. At first, the labels pushed back on the artists until the producers and engineers joined the fight.
Our local Avid rep remembers visiting Westlake back then, watching Joe bounce from phone call to phone call with engineers and studio managers who were installing Pro Tools systems in their mixing rooms, ADR studios, and dub stages.
We outfitted this Atmos Mixing Room in Hollywood, CA with a JBL 7-series Dolby Atmos system, an Avid S6, two Avid MTRX base units loaded with Dante, MADI, AES, SDI and Digilink option cards, and two SCM50ASL Pro monitors.
When they decided to upgrade one of their rooms with an S6, they came to us.
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