Megatrax chief engineer, producer and composer Eddie King
By Randy Alberts
“I love the way SONAR sounds,” says producer, engineer and composer Eddie King. “Particularly in the bottom end which is tight, fat and well defined. It’s my subjective opinion that SONAR’s 64-bit processing makes a huge difference.”
Given his aural perspective comes from multiple vantage points, it can be said King’s subjective opinion distills closer to objectivity with every SONAR mix he finishes. A Mac-based Pro Tools engineer/producer by day at Megatrax-a premier production music library and recording studio for film, t.v., advertising and multimedia-and a talented home-based composer and arranger by night with SONAR on his screaming-fast PC server farm, Eddie’s bi-platform, dual DAW audio opinion carries just a bit more weight than most others’ do.
“Once I saw that SONAR runs solidly, has good functionality and then, the big one, that SONAR is the only DAW running at 64-bit,” says King, “that’s when I thought, ‘Well, hello!’ It makes sense that better resolution means things are going to sound better, too. Again, this is subjective, but I have to say that SONAR’s 64-bit resolution does, in fact, make a big difference. I know Cakewalk has done more objective, blind listening tests about this, but at least I know for sure that SONAR makes a big difference for my sound and my mixes.”
Both Sides of the Building: Mega Tracks & King’s Sound
Eddie King’s audio credentials began years before the founding of Megatrax. In 1980 he opened and for years seriously upgraded his old Neve 3 and vintage analog gear racks at Kingsound in North Hollywood, his own commercial studio wherein Megatrax-one of his clients there-first began building their respected, comprehensive music library. Fifteen years later, in 1995, he sold Kingsound to them, Megatrax made Eddie their chief engineer and the two have been a very busy team ever since.