"We can push up to 500 tracks of audio, depending on how big some of these sessions get and just managing session sizes that large can be a real challenge. With the S6, it makes it a lot easier," says Jones. "With color labeling, when you have 500 tracks of audio, you can see exactly where the dialog is, where the effects are, where the music stems are, where the backgrounds are, where the foley is, where the footsteps are, there are all of these different elements that we bring together to create this incredible film mix."
Prior to Jones making his move to the S6, he had been working on a Pro Control and Icon, but felt that the surfaces were nothing more that "big, giant mouses." In the S6 control surface, Jones found a more intuitive and interactive desk that was much easier to handle when working on incredibly large projects.
"The S6 is beautiful looking, very tactile. It’s compact, it has a smaller footprint and it really makes it easy to mix," Jones states. "With the automation capabilities, it’s easy to handle a large track session, very easy to call up tracks, to write a volume fade, to tweak an EQ, to tweak a compression. I love mixing surround panning on the Master Module with my fingers. It’s very cool to just grab it and just draw in real time where you want the action to go."
In our latest video feature, we go inside Alan Audio Works to check out the space where Jeffery Alan Jones has worked on projects like The Boy, Neverland, Cooties, King of Fighters, Call of Duty, Assassin's Creed, Mortal Kombat, American Restoration, Pawn Stars and much more. Learn about why he loves his Avid S6 and how it has helped to create a streamlined workflow in his sound production studio.