Our Artist’s

“The Massive Meter plugin fills a huge void in the arsenal of tools for the virtual studio. Finally, we can easily combine meter sources from multiple machines and display them wherever we like.

Metering multiple sources without the need to create vast additional external audio routing – this is really something I’ve been wanting for a long time. Massive Meter delivers!

Handling large sessions in immersive formats has really outstripped the ability of current metering solutions. massive Meter finally provides us with the ability to aggregate meters from different systems and display them easily wherever we like.”

Notable Work and Awards

2019 Hollywood Post Alliance Winner – The Haunting of Hill House
2017 Emmy Winner – Sonic Sea
2015 Golden Reel Winner – Libertador

2017 – Get Out
2017 Gaga: Five Foot Two
2017 – Happy Death Day
2000 – Memento

IMDB

“The Massive Meter plugin fills a huge void in the arsenal of tools for the virtual studio. Finally, we can easily combine meter sources from multiple machines and display them wherever we like.

Metering multiple sources without the need to create vast additional external audio routing – this is really something I’ve been wanting for a long time. Massive Meter delivers!

Handling large sessions in immersive formats has really outstripped the ability of current metering solutions. massive Meter finally provides us with the ability to aggregate meters from different systems and display them easily wherever we like.”

Notable Work and Awards

2019 Hollywood Post Alliance Winner – The Haunting of Hill House
2017 Emmy Winner – Sonic Sea
2015 Golden Reel Winner – Libertador

2017 – Get Out
2017 Gaga: Five Foot Two
2017 – Happy Death Day
2000 – Memento

IMDB

“First, Massive Meter is a perfect answer to an issue I was having with my personal mix stage. Visual versus physical real estate is an issue in my one-man s6 mixing setup. I don’t really have the room or workflow to justify getting a s6 meter bridge or something more elaborate. It’s a pretty self-contained system that can handle large mixes of all sorts, but geared for finishing on the bigger stages and setups.

I mix using meters more than I should probably admit publicly! My mentors taught me to mix films by looking at the screen, not the console. However, throughout the years, looking for specific visual feedback has become part of my process. Quick glances at meters are my, to quote the movie “Mr. Mom,” my “woobie.”

I need the right meter ballistics to do this. Whether it’s that security blanket to check what my ears are hearing, looking for peaks, seeing if the record tracks match the input, or just seeing if elements are going to the right place, the Massive Meter does this for me. And, it travels with me now. I can configure what I want to see and how I want to see it and take it to any stage for the ultimate consistency.”

Bio

Michael Babcock is one of Hollywood’s first call re-recording mixers and sound designers. He’s worked on projects for the likes of Christopher Nolan, Steven Spielberg, Jordan Peele, Aaron Sorkin, Todd Phillips, Andrew Niccol, Seth Rogan, and Halsey.

Credits for re-recording mixer include:

• Snow Day
• Bros
• Father of the Bride
• Wonder Woman 1984
• Smallfoot
• Captain Underpants: The First Epic Movie
• Emma
• Interstellar
• The Dark Knight
• The Dark Knight Rises
• Thor
• The Incredible Hulk

IMDB

“First, Massive Meter is a perfect answer to an issue I was having with my personal mix stage. Visual versus physical real estate is an issue in my one-man s6 mixing setup. I don’t really have the room or workflow to justify getting a s6 meter bridge or something more elaborate. It’s a pretty self-contained system that can handle large mixes of all sorts, but geared for finishing on the bigger stages and setups.

I mix using meters more than I should probably admit publicly! My mentors taught me to mix films by looking at the screen, not the console. However, throughout the years, looking for specific visual feedback has become part of my process. Quick glances at meters are my, to quote the movie “Mr. Mom,” my “woobie.”

I need the right meter ballistics to do this. Whether it’s that security blanket to check what my ears are hearing, looking for peaks, seeing if the record tracks match the input, or just seeing if elements are going to the right place, the Massive Meter does this for me. And, it travels with me now. I can configure what I want to see and how I want to see it and take it to any stage for the ultimate consistency.”

Bio

Michael Babcock is one of Hollywood’s first call re-recording mixers and sound designers. He’s worked on projects for the likes of Christopher Nolan, Steven Spielberg, Jordan Peele, Aaron Sorkin, Todd Phillips, Andrew Niccol, Seth Rogan, and Halsey.

Credits for re-recording mixer include:

• Snow Day
• Bros
• Father of the Bride
• Wonder Woman 1984
• Smallfoot
• Captain Underpants: The First Epic Movie
• Emma
• Interstellar
• The Dark Knight
• The Dark Knight Rises
• Thor
• The Incredible Hulk

IMDB

“I recently completed construction of a purpose built Dolby Atmos feature/TV dub stage in Los Angeles. Designed by Russ Berger Design Group, the project is paramount in its quality, equipment compliment and technical design. However, I never felt that I had a great solution for metering. I wanted a no compromise solution that gave me immediate visual feedback for each machine’s I/O in the room.

Finding the Post Production Metering Suite was one of the most exciting discoveries in the entire studio build. After working with a trial for a few days, I knew this was the solution I was looking for. It is elegant, functional, easy to use and interfaced seamlessly into the facility without additional expensive hardware.

In my room setup, the meters are showcased on a large ultra-wide monitor at the front of the stage just below the screen. At a single glance, I am able to see each of my four machine’s stem inputs, outputs and recorder print tracks with traditional style PEC-Direct metering. I can easily customize layouts, colors and scale to make it even easier to focus exactly on what I want and need to see at any moment.

Every project I work on is different. This means that each job may require an alternate set of metering from the previous. The Post Production Metering Suite makes it very easy to add, remove or modify on the fly without cumbersome routing headaches and setups.

This software is innovative and impressive in its design. It is functional, beautiful and easy to use. Truly one of the highlights of my new room.“

Bio

Fred Paragano, CAS is a Re-Recording Mixer & Supervising Sound Editor for television and feature films. He has been nominated for three MPSE awards, two Prime Time Emmy awards and has won one Golden Reel Award.

Fred began his career recording and mixing music for major label artists in New York, Nashville and Los Angeles. His recording and mixing work has been featured on multiple Grammy-winning albums and live concert videos.

In 2003 he created Paragon Studios in Nashville, TN. The 22,000sf studio complex was a ground-up, world-class music and post-production facility designed by acclaimed acoustician, Russ Berger. The studios catered to artists and film/TV clients from across the country and around the world. For nearly 20 years, he maintained ownership of the facility until moving its current operations to a newly designed facility in Los Angeles in 2022.

In 2012, he relocated from Nashville to LA where he continues to remain active as a Re-Recording Mixer, Supervising Sound Editor & Music Mixer.

IMDB

“I recently completed construction of a purpose built Dolby Atmos feature/TV dub stage in Los Angeles. Designed by Russ Berger Design Group, the project is paramount in its quality, equipment compliment and technical design. However, I never felt that I had a great solution for metering. I wanted a no compromise solution that gave me immediate visual feedback for each machine’s I/O in the room.

Finding the Post Production Metering Suite was one of the most exciting discoveries in the entire studio build. After working with a trial for a few days, I knew this was the solution I was looking for. It is elegant, functional, easy to use and interfaced seamlessly into the facility without additional expensive hardware.

In my room setup, the meters are showcased on a large ultra-wide monitor at the front of the stage just below the screen. At a single glance, I am able to see each of my four machine’s stem inputs, outputs and recorder print tracks with traditional style PEC-Direct metering. I can easily customize layouts, colors and scale to make it even easier to focus exactly on what I want and need to see at any moment.

Every project I work on is different. This means that each job may require an alternate set of metering from the previous. The Post Production Metering Suite makes it very easy to add, remove or modify on the fly without cumbersome routing headaches and setups.

This software is innovative and impressive in its design. It is functional, beautiful and easy to use. Truly one of the highlights of my new room.“

Bio

Fred Paragano, CAS is a Re-Recording Mixer & Supervising Sound Editor for television and feature films. He has been nominated for three MPSE awards, two Prime Time Emmy awards and has won one Golden Reel Award.

Fred began his career recording and mixing music for major label artists in New York, Nashville and Los Angeles. His recording and mixing work has been featured on multiple Grammy-winning albums and live concert videos.

In 2003 he created Paragon Studios in Nashville, TN. The 22,000sf studio complex was a ground-up, world-class music and post-production facility designed by acclaimed acoustician, Russ Berger. The studios catered to artists and film/TV clients from across the country and around the world. For nearly 20 years, he maintained ownership of the facility until moving its current operations to a newly designed facility in Los Angeles in 2022.

In 2012, he relocated from Nashville to LA where he continues to remain active as a Re-Recording Mixer, Supervising Sound Editor & Music Mixer.

IMDB

“The Massive Meter Bridge allows me to show what I need from any machine, on a screen placed beneath our cinema screen, and that can be tucked away if other users don’t need it. We run the Massive Meter Bridge application on a standalone Mac, so we don’t have to worry about screen real estate on the player or recorder rigs.“

Bio

Born in England and then moving to France at age 9, Steven graduated from the ENS Louis Lumière film school in 1994, and started working in sound for picture shortly thereafter. After a few years doing location sound as well as post-production, he started Yellow Cab Studios with his partner Eric Lesachet in 1998. The focus was clearly on post-production from that point, and both with Yellow Cab and as a freelancer, Steven will go on to work as a sound editor and re-recording mixer for many projects. In recent years, he has worked mainly as a re-recording mixer for film and television projects. 

Since 1998 Yellow Cab Studios has grown from a single facility with a small studio to a multi-site company with 5 studios and 7 sound editing rooms.

And a bit on my way of working:

In recent years, I have seen the transition from large-format digital film mixing consoles to completely in-the-box workflows. 

In 2007, we were one of the first facilities in Europe to acquire the new version of the Euphonix System5 console, which allowed hybrid mixing with DSP channels and DAW Eucon channels. It was really the start of a revolution. However, I noticed that, barring some facilities that still used a film mixing console for monitoring purposes, it was usually tricky to have decent options for metering different stems or even different DAW in a multi-rig setup. 

I’m a big fan of having an eye (and ears) on what is going on in the mix, even though we are mostly setting levels “by ear” on film projects. Seeing stem meters move has sometimes saved the day for tracks with improper routing. 

80% of our film projects can now be mixed on one DAW, and the other 20% will need 2 or more rigs. 

The Massive Meter Bridge allows me to show what I need from any machine on a screen placed beneath our cinema screen, and that can be tucked away if other users don’t need it. We run MMB on a standalone Mac, so we don’t have to worry about screen real estate on the player or recorder rigs. 

IMDB

“The Massive Meter Bridge allows me to show what I need from any machine, on a screen placed beneath our cinema screen, and that can be tucked away if other users don’t need it. We run the Massive Meter Bridge application on a standalone Mac, so we don’t have to worry about screen real estate on the player or recorder rigs.“

Bio

Born in England and then moving to France at age 9, Steven graduated from the ENS Louis Lumière film school in 1994, and started working in sound for picture shortly thereafter. After a few years doing location sound as well as post-production, he started Yellow Cab Studios with his partner Eric Lesachet in 1998. The focus was clearly on post-production from that point, and both with Yellow Cab and as a freelancer, Steven will go on to work as a sound editor and re-recording mixer for many projects. In recent years, he has worked mainly as a re-recording mixer for film and television projects. 

Since 1998 Yellow Cab Studios has grown from a single facility with a small studio to a multi-site company with 5 studios and 7 sound editing rooms.

And a bit on my way of working:

In recent years, I have seen the transition from large-format digital film mixing consoles to completely in-the-box workflows. 

In 2007, we were one of the first facilities in Europe to acquire the new version of the Euphonix System5 console, which allowed hybrid mixing with DSP channels and DAW Eucon channels. It was really the start of a revolution. However, I noticed that, barring some facilities that still used a film mixing console for monitoring purposes, it was usually tricky to have decent options for metering different stems or even different DAW in a multi-rig setup. 

I’m a big fan of having an eye (and ears) on what is going on in the mix, even though we are mostly setting levels “by ear” on film projects. Seeing stem meters move has sometimes saved the day for tracks with improper routing. 

80% of our film projects can now be mixed on one DAW, and the other 20% will need 2 or more rigs. 

The Massive Meter Bridge allows me to show what I need from any machine on a screen placed beneath our cinema screen, and that can be tucked away if other users don’t need it. We run MMB on a standalone Mac, so we don’t have to worry about screen real estate on the player or recorder rigs. 

IMDB

“The Post Production Metering Suite has filled a hole in my workflow. I now have the ability to see at a glance which stems have audio as well as any overs. Really useful.“

Bio

Stephen Lipson is one of the UK’s leading record producers and songwriters. People say the test of a genuinely great record producer isn’t whether or not they’ve had a couple of hits but whether they can keep having them. If that’s the case, Stephen Lipson is up there with the greats. Witty, irreverent, fiercely intelligent, and passionate about music, Stephen has been making records professionally for over 30 years and shows no sign of letting up.

From his beginnings as an engineer at Sarm Studios in 1983, Stephen Lipson has been involved in the making of some of pop music’s landmark records, from Grace Jones’ “Slave To The Rhythm,” all of Annie Lennox’s solo albums, right up to Billie Eilish’s Grammy Award-winning single “No Time to Die”

In addition to the previously mentioned artists, Stephen’s discography reads like a who’s who of household names: The Rolling Stones, Pet Shop Boys, Frankie Goes To Hollywood, Simple Minds, Whitney Houston, Natalie Imbruglia, Paul McCartney, Will Young, the list goes on. Recently, Stephen has worked on Jeff Beck’s Grammy-winning album “Emotion & Commotion” as well as Juanes’ highly acclaimed “P.A.R.C.E.”

His movie career includes:

• Superman – Man of Steel – Score and Soundtrack produced and mixed by SL
• The Amazing Spider-Man 2 – Score and Soundtrack produced & mixed by SL
• The Last Face – Score mixed by SL
• The Lego Batman Movie – Score and Soundtrack mixed by SL
• The Little Prince – Score and Soundtrack mixed by SL
• Risen – Score mixed by SL
• Inferno – Score and Soundtrack produced & mixed by SL
• In the Heart of the Sea – Score produced & mixed by SL
• Home – Score and Soundtrack mixed by SL
• Freeheld – Score and Soundtrack produced & mixed by SL
• Batman- The Dark Knight Rises – Score and Soundtrack mixed by SL
• Rush – Score and Soundtrack produced & mixed by SL
• King Arthur- Legend of the Sword – Soundtrack produced by SL
• The Commuter – Soundtrack mixed by SL
• Mission Impossible – Fallout – Score and Soundtrack mixed by SL
• The Girl in the Spiders Web – Score and Soundtrack mixed by SL
• The Lion King – Movie songs co-produced and mixed by SL
• The Boss Baby: Family Business – Movie songs produced and mixed by SL, Score and Soundtrack mixed by SL
• Rumble – Score and Soundtrack mixed by SL
• Top Gun: Maverick – Score and Soundtrack mixed by SL
• His House – Score mixed by SL
• The Boss Baby 2: Family Business – Score mixed and Songs produced by SL
• No Time to Die – Billie Eilish Title Track co-produced by SL, Score and Soundtrack mixed by SL

Stevelipson.com

IMDB

“The Post Production Metering Suite has filled a hole in my workflow. I now have the ability to see at a glance which stems have audio as well as any overs. Really useful.“

Bio

Stephen Lipson is one of the UK’s leading record producers and songwriters. People say the test of a genuinely great record producer isn’t whether or not they’ve had a couple of hits but whether they can keep having them. If that’s the case, Stephen Lipson is up there with the greats. Witty, irreverent, fiercely intelligent, and passionate about music, Stephen has been making records professionally for over 30 years and shows no sign of letting up.

From his beginnings as an engineer at Sarm Studios in 1983, Stephen Lipson has been involved in the making of some of pop music’s landmark records, from Grace Jones’ “Slave To The Rhythm,” all of Annie Lennox’s solo albums, right up to Billie Eilish’s Grammy Award-winning single “No Time to Die”

In addition to the previously mentioned artists, Stephen’s discography reads like a who’s who of household names: The Rolling Stones, Pet Shop Boys, Frankie Goes To Hollywood, Simple Minds, Whitney Houston, Natalie Imbruglia, Paul McCartney, Will Young, the list goes on. Recently, Stephen has worked on Jeff Beck’s Grammy-winning album “Emotion & Commotion” as well as Juanes’ highly acclaimed “P.A.R.C.E.”

His movie career includes:

• Superman – Man of Steel – Score and Soundtrack produced and mixed by SL
• The Amazing Spider-Man 2 – Score and Soundtrack produced & mixed by SL
• The Last Face – Score mixed by SL
• The Lego Batman Movie – Score and Soundtrack mixed by SL
• The Little Prince – Score and Soundtrack mixed by SL
• Risen – Score mixed by SL
• Inferno – Score and Soundtrack produced & mixed by SL
• In the Heart of the Sea – Score produced & mixed by SL
• Home – Score and Soundtrack mixed by SL
• Freeheld – Score and Soundtrack produced & mixed by SL
• Batman- The Dark Knight Rises – Score and Soundtrack mixed by SL
• Rush – Score and Soundtrack produced & mixed by SL
• King Arthur- Legend of the Sword – Soundtrack produced by SL
• The Commuter – Soundtrack mixed by SL
• Mission Impossible – Fallout – Score and Soundtrack mixed by SL
• The Girl in the Spiders Web – Score and Soundtrack mixed by SL
• The Lion King – Movie songs co-produced and mixed by SL
• The Boss Baby: Family Business – Movie songs produced and mixed by SL, Score and Soundtrack mixed by SL
• Rumble – Score and Soundtrack mixed by SL
• Top Gun: Maverick – Score and Soundtrack mixed by SL
• His House – Score mixed by SL
• The Boss Baby 2: Family Business – Score mixed and Songs produced by SL
• No Time to Die – Billie Eilish Title Track co-produced by SL, Score and Soundtrack mixed by SL

Stevelipson.com

IMDB

“When working on multiple systems, or just one, viewing all of your elements can be a big problem.  Our consoles give us Pec/Direct metering, and our external meters allow us to see several elements in a large format but use up expensive I/O. 

We have been looking for a meter package like this for a long time.  It allows us to have customizable meters where we want them and view multiple tracks on multiple systems, using multiple formats in any way we need.  This is a game changer for our large studio and our edit bays.”

Bio

Starting as a projectionist, Brian has been involved in the film industry since the age of 15. He moved to L.A. to work on Terminator 2 for Kodak’s Cinema Digital Sound. He has been an engineer for Ultra-Stereo Labs, DTS, SDDS, and Todd-AO, as well as Chief Engineer of Digital Sound and Picture, Wildfire Studios, New Standard Post, and Metro-Goldwyn-Mayer. Brian started Widget Post Production in 2000 where he served as co-owner, engineer, and CAS Award-winning mixer.

As SVP of Technology for Iosono, Brian’s primary function was to create and refine the post production workflow for one of the first object-based mixing platforms. Brian returned to DTS in 2014 as Manager of Professional Audio and Advanced Cinema Solutions where he received three patents for his work in immersive audio.

He is currently the Director of Technical Audio Operations for Deluxe Media, overseeing all technical aspects of their mixing and dubbing facilities in Los Angeles.

Notable Work and Awards

2009 CInema Audio Society Award Winner – Smashing Pumpkins: If All Goes Wrong
2009 CInema Audio Society Award Nominee – Steve Miller Band: Live from Chicago

2021 – Neo-Bedouin
2018 – Hero
2017 – Valerian and the City of a Thousand Planets
2013 – Iron Man 3
2012 The Avengers
2012 – Battleship

IMDB

“When working on multiple systems, or just one, viewing all of your elements can be a big problem.  Our consoles give us Pec/Direct metering, and our external meters allow us to see several elements in a large format but use up expensive I/O. 

We have been looking for a meter package like this for a long time.  It allows us to have customizable meters where we want them and view multiple tracks on multiple systems, using multiple formats in any way we need.  This is a game changer for our large studio and our edit bays.”

Bio

Starting as a projectionist, Brian has been involved in the film industry since the age of 15. He moved to L.A. to work on Terminator 2 for Kodak’s Cinema Digital Sound. He has been an engineer for Ultra-Stereo Labs, DTS, SDDS, and Todd-AO, as well as Chief Engineer of Digital Sound and Picture, Wildfire Studios, New Standard Post, and Metro-Goldwyn-Mayer. Brian started Widget Post Production in 2000 where he served as co-owner, engineer, and CAS Award-winning mixer.

As SVP of Technology for Iosono, Brian’s primary function was to create and refine the post production workflow for one of the first object-based mixing platforms. Brian returned to DTS in 2014 as Manager of Professional Audio and Advanced Cinema Solutions where he received three patents for his work in immersive audio.

He is currently the Director of Technical Audio Operations for Deluxe Media, overseeing all technical aspects of their mixing and dubbing facilities in Los Angeles.

Notable Work and Awards

2009 CInema Audio Society Award Winner – Smashing Pumpkins: If All Goes Wrong
2009 CInema Audio Society Award Nominee – Steve Miller Band: Live from Chicago

2021 – Neo-Bedouin
2018 – Hero
2017 – Valerian and the City of a Thousand Planets
2013 – Iron Man 3
2012 The Avengers
2012 – Battleship

IMDB

“The ability to monitor multiple systems, formats and ease of set up are what initially interested me, throw in flexible customization and the ability to recall setups quickly and I was sold. Finally, an effective and reliable metering solution that doesn’t require a digital film console or complicated routing setups. With the increase in the amount of immersive content being made and the additional deliverables required by these formats – it was a no brainer for me.”

Bio

A 25+ year veteran in the post sound industry. He has worked at or for all the major studios and several independent facilities in Hollywood. Splitting his time fairly equally between TV and film. Acting incapacity of sound editor, sound designer, sound supervisor, foley mixer and re-recording mixer. A four-time Emmy Award winner. He has also been nominated for a CAS award for his mixing work on Westworld, and several MPSE Golden Reel Awards.

Notable Television credits include: Deadwood, Rome, The Pacific, Black Sails, Lost in Space, Jack Ryan, Westworld, The Old Man….and most recently the Apple TV miniseries Blackbird.

Film credits include: Apocolypto, Secretariat, Spiderman-Homecoming, Spiderman-Into the Spiderverse, Uncharted, The Lost City and Shazam-Fury of the Gods.

IMDB

“The ability to monitor multiple systems, formats and ease of set up are what initially interested me, throw in flexible customization and the ability to recall setups quickly and I was sold. Finally, an effective and reliable metering solution that doesn’t require a digital film console or complicated routing setups. With the increase in the amount of immersive content being made and the additional deliverables required by these formats – it was a no brainer for me.”

Bio

A 25+ year veteran in the post sound industry. He has worked at or for all the major studios and several independent facilities in Hollywood. Splitting his time fairly equally between TV and film. Acting incapacity of sound editor, sound designer, sound supervisor, foley mixer and re-recording mixer. A four-time Emmy Award winner. He has also been nominated for a CAS award for his mixing work on Westworld, and several MPSE Golden Reel Awards.

Notable Television credits include: Deadwood, Rome, The Pacific, Black Sails, Lost in Space, Jack Ryan, Westworld, The Old Man….and most recently the Apple TV miniseries Blackbird.

Film credits include: Apocolypto, Secretariat, Spiderman-Homecoming, Spiderman-Into the Spiderverse, Uncharted, The Lost City and Shazam-Fury of the Gods.

IMDB