NFL Films - Mount Laurel - NJ - USA
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Ringside Creative - MI - USA
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New Wave Entertainment - Burbank - CA - USA
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AudioVision - Orange County - CA - USA
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Modern VideoFilm - Burbank - CA - USA

Before EVO Upgrade

After EVO Upgrade
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Capital Post Production - VA - USA
Audio 1

Audio 2
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Wave - UK
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USA & Worldwide Installations

Sound Design Corp -  USA

Production Consultants - USA

Cezanne - Spain

Channel Ten - Australia

Images & Sound - New Zealand

GAS - Australia
Jungle - UK

3H Studios - Taiwan

Highway TV - France
Wink 2 - Japan
Swedish Radio
WDR - Germany

AudioLoc - Australia
Azabu Plaza - Japan

Ena - Japan

Doner Advertising -

Independent Studios - USA

Producers - USA

Commercial Sound & Image - USA

Production Alley - Australia
Jungle - UK

Westlake Village Studios - USA

Sports IT - USA

Company 3 Sound - USA
Studio Furniture - Producers desk in solid walnut - Black rack with smoked glass top - Fairlight Evo adjustable Nearfield stands - Jungle Studio 7, London.
Marmalade - UK

Back to God Ministries - USA
Studio Furniture - Producers desk in solid walnut - Black rack with smoked glass top - Fairlight Evo adjustable Nearfield stands - Jungle Studio 7, London.
Jungle - Studio 7 - UK
Studio Furniture - Producers desk in solid walnut - Black rack with smoked glass top - Fairlight Evo adjustable Nearfield stands - Jungle Studio 7, London.
Penny Lane - Studio A - USA

Margarita Mix - USA

Catholic TV - USA

Swedish Radio

Presence Studios - USA

Commercial Sound & Image - USA
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Prominent USA Installations
Garys Chop Shop
Modern VideoFilm
RIOT Atlanta (Company 3 Sound)
Golf Channel (NBC)
Universal Sports (NBC)
Sony Pictures Post Production
Slate Run Productions
Major League Baseball
World Wrestling Entertainment
New Wave Entertainment
Production Consultants
WestLake Village Studios
Back to God Ministries
Independent Studios
Ellen DeGeneres
Conan O`Brian
World Wide Wadio
Sound Design Corporation
Producers Video
• CR Sound
Margarita Mix
DONER Advertising
Palace Digital
Penny Lane Studios
NBA Entertainment
NFL Films
TreeFall Productions
Flying Spot
Buzzy's Recording
Capital Audio Post
Catholic TV
The Vision Factory
Ringside Creative
Commercial Recording
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Client Testimonials
When Major League Baseball asked what system I'd recommend when I was told of their plans to launch a new Network and build two new audio suites. The easy choice was the Fairlight Xynergi. I've worked on a number of different work stations and nothing comes close to the speed and efficiency of editing and mixing on a Fairlight system.

With seamless integration of HD video, and the ability to handle a number of different file formats, working with a video file is as easy as dragging and dropping it into your time line.

Their technical support and customer service is second to none. If a question or need presents itself, with one phone call, you'll be talking to a knowledgeable technician, or the president of the company himself! If I had my choice, I'd never work on another platform again.

John Gardner
Mixer - Audio Post Production
Major League Baseball Productions
Here at World Wrestling Entertainment, we create 7 hours each week of domestic television programming which is then customized for over 130 countries and translated into 30 languages. We release 3 DVD titles per month and air 16 pay per view events per year. All of the audio post work for our programming is accomplished in house in our 5 audio suites. This means that we must constantly turn out work at an unbelievable pace with a very high benchmark for quality.

WWE moved to the Xynergi system in December 2008. We chose Fairlight because of its speed of editing, reliability and ability to work with any video file format and stream from any server.

The support that Fairlight has offered is excellent, Fairlight has helped us sync our entire system with the different rooms we have, allowing us to access all projects in every room and have access to all 96 channels and HD Video everywhere.

Chris Argento
VP Post Production
World Wrestling Entertainment
Sonically, the Fairlight product has always been brilliant, but the other main attraction for us is speed. The bulk of our work is straight up editing of dialogue and NAT sound, general track prep and sound effects placement. For all of that, the speed and flexibility of the Xynergi is unmatched.

We also rely on the clip-based DSP, so that when we reach back in to our archives for a sound clip, we can import it with all of the work done, level, EQ, rendered plug-ins, fades, etc. That saves us from having to do that same job twice. With both the clip-based and channel strip control, there is an over-abundance of power and flexibility, so there are few boundaries. There is much less delineation between the pre-dubbing and mixing processes, the mix is always on.

Our Fairlight network and file server are at the core of our audio operation. The server houses all of our shared data, Sound-FX libraries, HD video that we simultaneously stream from multiple rooms, and archives dating back over 20 years. Very little data is stored locally, making it fast and easy to work on the same project in multiple rooms.

There are so many unique features in the Xynergi/EVO combination that you can’t find elsewhere. If you never had them, you wouldn’t miss them, but once you get used to that power, you can’t do without it.

Vince Caputo
Supervising Sound Mixer

NFL Films
We purchased our Constellation XT consoles as an upgrade to our previous FAME-2 and Prodigy-2 consoles hoping to keep up with the advances in Fairlight technology. Little did we know what a quantum leap we were making! The Constellation platform and specifically the Binnacle edit controller vastly increased our editing speed which in turn allowed us more time for other aspects of our projects.  We couldn’t possibly have made a better move.  Our clients are constantly amazed at the speed and quality of the work that comes from these systems and we couldn’t be happier. 

Mixing “in the box” on a Fairlight system is quick, easy and pain free.  We have eliminated almost all outboard gear thanks to the capabilities of our Constellation XT systems.  This allows us to easily move projects back and forth between all of our rooms without worrying about having a specific piece of equipment.  Everything we need is right there at the touch of a button or click of a mouse.  It has helped us increase our work speed, refine our workflow and make our clients even happier.  Even under the tightest of deadlines and crazy situations our Fairlight systems have never let us down!

Having integrated HD video within our projects on the Constellation platform has been a massive help for us.  Loading for sessions is quick and easy with being able to drag and drop HD QuickTime files right into the timeline and the capability of exporting QuickTime files for reference is a major plus.  With the video and audio locked together in a single project we have less files to worry about and can spend our time concentrating on what matters most: our product and our clients!

Frank Scheuring
Capital Audio Post
The biggest selling point for us is the new dual video track, allowing us to work with 3D video. As 3D advances, the Fairlight systems give us the chance to evolve as well. The dual track helps us recognize the changes being made as many eyes are constantly viewing the content and adding input

QuickTime support is very valuable to us since most of our approval isn’t done in-house. It’s great to send short clips and have our clients understand what we are working on and they can give their input as well. We can change the frame rate and merge different files together without a worry

I’ve always loved the sound with Fairlight consoles, they have a warmth that other systems lack. Everything has worked out extremely well and we are happy with everything that Fairlight offers from the speed of workflow to the support that they have given us to help us meet the needs of our clients.
Mark Rodrigues
Chief Engineer and Senior Mixer
New Wave Entertainment  
After wearing out two Prodigy's and two Constellation's (that took over a decade of demanding post production work) the next logical step was two matching EVO's.  Coupled with our CC-1's this system is invincible ... indefatigable ... almost inconceivable. You've read what it can do.  How it can handle almost any file format you can throw at it.  It's untouchable edit speed.  It's remarkable range of mixing options and, of most importance but often overlooked, Fairlight's great sound.

One of my favorite things to do is mention to other audio professionals that I don't use Pro Tools.  This usually garners a response of "Oh, you must not do this for a living" or "How can you work at all?"  Then they get a look at the EVO's and what it can do.  Silence ... usually followed by "Wow!"  Things we take for granted after using Fairlight for years in my facility often stun those unfamiliar with Fairlight.  Anyone who's in post production needs to be seriously looking at Fairlight.  

Randy Bobo
Independent Studios
One of the benefits of Fairlight’s XCS Constellation and Xynergi is their flexibility to work with many file formats. Fairlight continues to add new levels of innovation by adding HD video to the timeline as well as the capability to import and export different file formats and VST plug-ins.

The ability to work on audio and signal processing on every channel, without a separate program saves a great amount of time and helps to keep workflow constant. There is no need to launch another program or extension, and all the native EQ’s and dynamics are all instantly there.”

Other features we use often are the AAF import and EDL conform capability. We drag and drop multiple cuts onto a single timeline. When a version is finalized, it’s great to be able to access the original polyphonic broadcast wav files recorded during production. This gives us access to every microphone that was on set or location and can help us sort through the feeds to pick the best audio for the circumstance

The intuitive layout and ease of use of the Fairlight consoles continue to make the learning process for engineers very easy.

The ongoing support we receive is impeccable. We are constantly reassured of our decision to go with Fairlight and continue to enjoy working with them and the systems, It’s clear Fairlight truly cares about our professional needs.

Bob Bragg
Senior Mixer
We Have been using Fairlight systems here at Sound Design Corporation since 1996, and the current Xynergi  systems are amazing.  We have five studios equipped with Xynergi systems, as well as two flight pack systems we use on all our live outings, where we mix the broadcast music on live productions for shows like The Academy Awards, The American Giving Awards, The American Music Awards, The BET Awards, The BET Celebration of Gospel, BET’s Sunday Best competition show, The Billboard Music Awards, The MDA Telethon, and the Annual UNCF Parade of Stars.

We also mix all the packages for these and other shows and series here at Sound Design using our five Xynergi equipped mix suites. as well as having two Xynergi systems on board the Conan show on TBS for all their recording, mixing, and sound effects needs, on site at Warner Brothers.

There are strict time limits for each of these projects. With the Xynergi systems in place there’s no need for any external devices, all the plug-ins necessary, on board EQ, compression, limiting, and mono to 5.1 monitoring are all there with the push of a button. It saves us a lot of time with no need to flip through menus and pages to find what you’re looking for.

The power, speed and SOUND of the Fairlight system is unequalled by any other system available.

Love our Fairlights.

Paul Sandweiss
Sound Design Corp.
We bought the Xynergi System because it was the best most complete production system available. Simply stated it was the most bang for the buck.

Craig Rettmer
C.R. Sound
The integration of HD video is just about worth the price of admission to me. It simplifies our workflow and my life as well. Our recently CC-1 upgraded Constellation provides me with the latest in Fairlight technology along with a console surface with faders and knobs.

Overall Fairlight has been there through it all and helped us to do our jobs at the highest level. The support has been outstanding and gives us confidence that we can tackle any job that comes our way.

Mitch Raboy

The CC-1 is fantastic. In my opinion, it is the only truly “In the Box” solution available today. High track counts with HD video and surround mixing and monitoring is essential to today’s workflow and for Fairlight to do all that on a single PC is pretty amazing.

Add the Xynergi, the indisputably fastest editor available, and you have a sure winner.
Nathan Dubin
Re-Recording Mixer
Margarita Mix
One of the great features of this latest generation of technology is the revolutionary way in which Fairlight has achieved a high track count, seamless integrated video, an extraordinary feature set and at the same time simplified the control surface. This has meant a very cost effective solution appropriate for local industry conditions. The performance power to cost ratio is excellent, and the fact that many of the features we require come as standard rather than additional to the system has given us a cost saving of thousands of dollars.

Doron Kipen
Managing Director
Music and Effects, Melbourne

The board is very intuitive for the entire Doner team, with so many options, I don’t have to adjust my thinking to the software. We all have different backgrounds, so it helps that we can work on the same projects while doing things our own way. With deadlines to meet, sharing projects between studios happens frequently. With Fairlight, the process is seamless and I can be confident that as we pick up each other’s projects, the information, elements, and automation will remain intact.

As far as service, the very few problems that the Doner team has had have been resolved as quickly as possible. All it takes is a phone call, Fairlight’s support team connects to our system directly and fixes the problem remotely with no hold up to us or our clients.

Ken Warzybok
Senior Mixer
Doner Advertising
I really like the fact that it comes with everything you need to get started, without having to buy extra bits and pieces to control video machines or get some physical outputs. Systems that don’t come complete can become expensive when you start adding in extras that you can’t do without.

There are EQ, limiters and compressors on all channels, groups and everywhere else you can think of. These are quite separate from plug ins, which you can use if you prefer, but once you hear the quality and see the versatility of these features, the plug ins suddenly seem unnecessary.

John Buckley
Managing Director
Classic Media Group,
We’ve owned several Fairlight systems starting with our first – an MFX2 in 1993.  For the past 20 years, we’ve trusted them, played with them, worked our fingers to the bone with them, meet deadlines with them, and they’ve never let us down.  We currently have two CC-1 based systems that continue to thrill and amaze our clients and ourselves with unbelievable speed, sound quality, and throughput.

With so many built in Post-Production features – ADR with beeps and streamers, a complete FX library management system, seamless network drive functions, totally integrated Pyxis SD/HD/2K video support, EDL conforming, and so much more. If you do Audio Post, this is the last machine you will own. From the legendary jog wheel, the on-board real-time clip based EQ, the complete digital mixing system with instant multi to mono monitoring, the only thing you have to add is a reverb and maybe some noise reduction software.

VST plug-ins work predictably, but so much processing is available without them, you only need a few specialized favorites (instead of a whole boatload) just to get the most basic functions.

On more than one occasion, the Pyxis video functions saved the day by doing an emergency picture fix to a D-Beta master. There was not enough time to get the audio laidback and the tape back into an edit bay, so we grabbed about 30 seconds (via SDI from the D-Beta) to the timeline, dropped in a corrected segment from the clients ftp server and laid the picture back along with the audio ... Boom, done! Let’s move on…
Bill Trousdale
Fairlight systems are made for people who need to get lots of work done without procedural issues, the function you need is always right under your fingers when you need it enhancing intuitive operation and ability to keep projects moving forward.

The support that I and the rest of the Production Consultants team continue to receive from Fairlight is beyond expectations, they support us in ways that you do not get from other companies.
Bill Schulenburg
Production Consultants
As a former FairlightUSer I am always happy to recommend the company’s workstations because they are dependable, consistent, easy to use and capable of delivering exceptional sound quality, in this particular case, the engineers using the new facility were making the transition from tape to a tapeless High Definition environment.

The audio requirement was complex because the show features music performances as well as Ellen’s comedic monologues and interviews with celebrities and members of the public. This meant there was a need to record multiple tracks of isolated audio and to link this to picture so that daily rehearsals could be reviewed and remixed prior to recording for taping.

David Crivelli
Systems Integrator
The Ellen DeGeneres Show
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