![]() This was the perfect rig for the job as, at the time, Digidesign (Avid) had the best algorithm for time stretch and pitch shift and we regularly received comments that our playback tapes sounded far better than other companies doing similar work. We did not record or mix anything either we just changed the speed and in turn the frame-rate of the track in order to create different in-camera effects. This was not a recording studio as such, nor was it a post facility. We also had a Digi Sync IO (Blackface) which allowed us to burn time-code into the picture on the Beta and U-matic formats. These tapes included DAT, Beta SP and very old school low band U-matics had stereo playback as well as a dedicated timecode track which is why we needed 8 channels of I/O. At FAB I used this system to make pre and post-production playback tapes for the pop video industry. I remember the rig set the company back a serious chunk of cash at the time but it was rock solid running Pro Tools version 4. The 882/20 has 8 analogue ins and outs and a digital SPDIF pair at 20-bit resolution. Sadly the company has gone now but we had a pretty sweet set up based around an Apple Mac G3 and a very early Pro Tools III card which hooked into a Digidesign 882/20. While I was at University (London Guildhall as it was) I started working for a company called FAB Sound Services in South West London.
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