ADS is equipped to meet all your digital and analog audio needs, in any format and in any frame rate. ADS features the latest in digital audio technology and has a large working inventory of audio and film legacy playback equipment for outdated formats. Our team of audio craftsmen represents the epitome of the industry professional with decades of experience, ensuring the highest-quality service and deliverable. Whether your needs are HD/SD layback, non-linear audio editing using the latest Pro Tools system, audio encoding and duplication, electronic delivery or Dolby encoding, you can trust our team to deliver your project on time, and on budget.
ADS can layback audio tracks from almost any format, including HD or SD format masters, Mag track, 1/4", 1/2", DAT, DA88/98, and digital files. We encode Dolby Digital or Dolby E encoded from the discreet track masters during the layback process. ADS uses the Lynx and TL sync system for synchronization for all standard or high-definition audio laybacks.
ADS uses the latest version Pro Tools® non-linear audio editing system, which allows users to record, edit and layback to video. We can also digitize material to and from Pro Tools to other video and audio formats, such as HD Cam SR, HD Cam, D5, DAT, DA-88 and DA-98, to name a few.
Using Pro Tools®, we capture and encode from any audio or videotape source and create AIFF, MP3 or WAV files. Combined with our 'golden eared' audio team, we ensure that the audio files are digitally encoded at the highest quality, making perfect copies of the originals. The encoded files are then burned to disc or electronically delivered.
ADS can support all of the Dolby encoding systems, from legacy versions through Dolby Digital AC-3 and Dolby E. ADS also processes 5.1 laybacks and encodes to Lt/Rt, Dolby E, or AC3, depending on whether you need stereo audible program or data stream.
Richard Evans, a long time veteran of the audio arts and ADS audio specialist, got his start in audio when he first worked for Cinesound, the oldest post production studio for audio, and later moved to Vidfilm. He then founded the Best Little Post House in Hollywood (sound design and mixing, including Automated Dialogue Replacement (ADR), Foley, and narration) and later joined ADS as the head of audio restoration. Richard's audio expertise started in the analog realm and learned from some of the most renowned audio pioneers that had been working on film since the early days of sound in the 20’s and 30’s – legends like Zahm Yamamoto, Wayne Nakatsu, Mark Rosette. These audio pioneers taught him the proper way to lay down sound and guided him in using editing, sweetening and mastering techniques that he uses today.
“My job at ADS is to make the sound as pure as it can be keeping true to the original source. By combining state-of-the-art equipment with a variety of techniques I've learned from decades of experience, I can quickly remove ticks and pops from a bad track to recreating seamless ambiance pieces to a background track. Critical hearing, from minute amplitude and pitch differences, to the phasing of each track and how it marries into the final composition are key.”