StudioLive in the SafeHouse at the Olympic Games.
We just got a tremendous pat-on-the-back via e-mail from Marc “Thux” Theodosiou, who runs sound at the Oakley Safehouse. The Oakley Safehouse operates on an exceptionally clever premise. Olympic athletes are oft surrounded by paperazzi and fans, and it can all be overwhelming for someone who really needs to focus on the task at hand: proving to the world that they are the best at their chosen sport. The idea of the SafeHouse is to give athletes some respite from fame so they can focus on what really matters: The Games. PreSonus is playing a part in this endeavor, and Marc wrote us the following to shed some light on it to the public.
“I have been a long time PreSonus user—over 10 years now. Initially I used the mic preamps and then the recording interfaces, so I have always been familiar with the product line and its reliability and quality.
I am not as involved in live sound and recording as I used to be, my focus switched to specific events and customized set-ups for these events.
If you go to this link you can get a good insight into the Safehouse and why it is so critical to Oakley. I have worked with Oakley on their Beijing Safehouse, Vancouver Safehouse and now the London Safehouse—all have had different requirements and layouts.
I work closely with Cuan Petersen who puts the Safehouse together. He is the Safehouse Activator, my role covers all the technology in the Safehouse. So that includes IT, broadcast video, all audio requirements and sound design. In London we had a very large space in the London Design Museum, and the StudioLive formed the mixing and routing hub for all the sound.
I chose the PreSonus StudioLive for a number of key reasons: small form factor, enough inputs and outputs to cover the various music mixes including a Pioneer DJ system, live audio
from the sports broadcasts, and live Oakley presentations. The StudioLive has flexibility that allows me to mix both analog inputs and digital feeds via FireWire (which is fantastic) and of course it allowed me to create zone matrixes in the Safehouse, so we could have dedicated music mixes in some zones and dedicated live commentary for an event in other zones. “