The best way to get great-sounding recordings is to capture great sounds in the first place. As sound is a phenomenon that occurs in space, you need a great space in which to record it. It's that simple.

We live in a new era of sound recording. Building a studio is a large and expensive undertaking. The scope of such a project is complex and requires careful design, planning and integration. Simply buying a bunch of expensive equipment and stringing them all up in the hope that what will emanate is divine and pristine music never really happens. Structural configuration and floating room designs are a must to achieve pure musical recordings.

A studio for us means an isolated, acoustically treated recording space with a separate neutral sounding control room.

The recording room is an active environment. A great-sounding room is the single most important factor in making a world-class recording, given of course, that the talent is up to the task. A bad sounding room is truly an awful environment in which to capture any musical performance. Such an environment can never inspire musicians to reach the heights of their creative talent. And without creativity, even the best of artists only achieve mediocre results. Having had the opportunity to work with both large and small recording areas, we have witnessed the dramatic difference in the acoustical environments both types of spaces offer.

Not all recording rooms are built the same. Your choice of the primary purpose of the studio — whether to record vocals or instrumental music — will have a profound effect on the layout and design of your studio. When designing a multipurpose studio, it is essential to incorporate all the best parts of a room for different styles of music. With the help of careful study, availability of materials, technologies and techniques, we can simulate the best tradeoffs required to make such environments feasible. Serious artists cannot escape the effect a superior environment can have on them. They feel instantly comfortable, inspired and stimulated to excel in their musical talents. A truly superior space never happens by accident.

The science of control room acoustics has made great strides in the last few years thanks to the increased computing power in today's computers to carry out complex simulations. Simply put, a control room should be an analytical and accurate neutral environment allowing the sound engineer to correctly make tonal and spatial judgments. This begins with proper room design and a judicial selection of monitoring equipment. The ideal control room provides a perfectly transparent and wide monitoring area.

In addition to room acoustics, we can also help you on the choice and integration of user-friendly state-of-the-art equipment. Equipment can take up a significant area of a control room. Our objective is to design control rooms ergonomically so as to allow functionality of operation and easy access for servicing. It is absolutely unreasonable to take an untreated room, pile in equipment, all set so that the knobs are easy reach, put a pair of speakers in some convenient location, and then expect to achieve adequate monitoring. If you appreciate the true importance of high-quality monitoring, then you probably realize that implementing it properly is an excellent investment, allowing you to squeeze every last bit of performance out of your gear.

Modern cinema requires both state-of-the-art picture and high quality sound to be combined together. Film mixing is best done in big acoustically treated rooms with large screens to replicate and simulate true theater environments. It is imperative to keep ambient noise as low as possible by isolating such facilities from the outside world. Dedicating a separate machine room for noisy equipment minimizes noise even further. Sound isolation form inside to outside is also required not to disturb the neighborhood when monitoring at high sound levels. We design film mixing rooms to accommodate the latest in film surround sound formats.
After all “half of what you see is what you hear”!

Postproduction suites need the same transparent, neutral environment of a control room. In small production rooms, the trick is to integrate the equipment impact into the acoustical considerations. We design to strike the optimal balance between room ergonomics and acoustical results. We understand how important it is for a sound engineer to be comfortable in order to work efficiently through long editing sessions.

It takes more than perfect working conditions to produce perfect results, but there is no denying that poor working conditions only add to the difficulties.

The finishing touches — this includes interiors as well as competence and professionalism of the studio team — are just as important to the success of a studio as is its basic construction. We take up design and consultation for all areas of studio construction.

When requested, our scope ranges from studio equipment advice to full facility study and implementation, including studio team training.