Operating out of his A-Pawling Studios in upstate Pawling, NY, Moshay’s running a dual 2.5 GHz Power Mac G5 with a Pro Tools HD3/Accel system — feeding 56 channels of separate I/O into a Sony DMX R-100 with 16 channels of lightpipe, 8 channels of AES/EBU and the rest analog.
Why the hell would anyone do that?
“Well, integrating digital console mixing with plug-in flexibility gives me the best of both worlds,” Moshay says. “Because I like to be able to bring individual and/or stem mixes up on the board and effect them with a combo of the R-100 EQ and Dynamics, as well as some of the Sony Oxford EQ and Dynamics Plug-Ins. Also, I can take multiple versions of a single track and treat them differently, since there are no latency issues involved. For instance, when I worked on older consoles, I used to split the kick drum into two channels and treat them independently. With my DMX R-100, I can do it right in the board”
Moshay, is currently working on both 5.1 and stereo mixes for Hall & Oates upcoming DVD/CD package, a just recorded live-concert dealio.