recording studio case study

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Online graduate-level course, architectural, acoustic, and audio system design for the modern music production studio.

Authored by Dan Thompson , John Storyk

Course Code: OMPRD-507

starts September 23--> Next semester starts September 23

Level 5 ( proof of a bachelor's degree required ), 3-credit tuition, non-credit tuition, are you prepared to enroll in this graduate course.

This course will prepare you to design and implement a professional-level critical listening, recording, and music production environment for yourself or for the clients with whom you work, using professional tools, standards, and practices. You will evaluate both theoretical and case study examples of acoustical and audio system design and construction, with a focus on programmatic thinking, application of scientific acoustical measurement, architectural and ergonomic planning and design, and both traditional and modern solutions in acoustics and audio. You will complete the necessary steps from conception of idea to the final project: a complete production studio design, including site study, internal and external acoustic design criteria, architectural design, 3D architectural and acoustic modeling, final acoustic design and implementation, and audio monitoring system design.

• Design and confirm the design of the production space, using AutoCAD and AudioTools
• Plan and execute the design of a professional-level critical listening, recording, and music production environment
• Analyze theoretical and case study examples of acoustical and audio system design and construction
• Solve traditional and modern acoustics and audio problems
• Apply scientific acoustical measurement tools
• Apply acoustical data in the design and implementation process
• Apply professional practice standards as applied to the production environment

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Lesson 1: Introduction to Studio Design

• Form Follows Function: Ergonomic Studio Design Principles and Components
• Sound Isolation
• Sound of the Space
• Technological Activity/Workflow
• The Traditional Studio
• Tom Hidley Control Room Design
• The Modern Production Studio
• Bridging the Gap
• Assignment 1: Research of a Music Production

Lesson 2: Basic Acoustic Principles: Sound in Rooms

• Sound Transmission Isolation vs. Internal Room Acoustics
• Sound Transmission Isolation
• Flanking Paths
• Vibration Isolation
• Other Noise Sources
• Internal Room Acoustics
• Sound Isolation Measures
• Internal Acoustic Measures
• Small Room Acoustics
• Using RTA, FFT, and RT60
• Assignment 2: Acoustical Room Measurements: RTA, FFT, RT60, and NR

Lesson 3: Architectural Studio Programming

• Defining the Program
• Additional Considerations
• Choosing the Site
• Sound Isolation Considerations
• Heating, Ventilation, and Air Conditioning (HVAC) Systems
• Alternating Current (AC) Considerations
• Power Conditioning
• Grounding Considerations
• Balanced Power
• EMI/RFI Considerations
• Assignment 3: Goals for Your Production Environment

Lesson 4: Architectural and Ergonomic Design Fundamentals

• Initial Programming—Bubble Drawing
• Sketching out the Initial Layout
• Basics of Computer Aided Drawing (CAD)
• Translating a Sketch into a CAD Model
• From Sketch to CAD Rendering—Examples and Case Study
• Assignment 4: Sketching out and Rendering a CAD Model of Your Studio

Lesson 5: Low Frequency Analysis and Control

• Understanding Modes
• Room Ratios
• Add Closet/Machine Room
• Large vs. Small Room Example
• Schroeder Frequency
• Non-Rectangular Rooms
• Applied Modal Analysis
• Approaches to Low Frequency Control
• Traditional Brute Force
• Narrow-Band Helmholtz—Type Resonator
• Narrow-Band Membrane or Panel Absorber
• Broadband Diaphragmatic or Plate Absorber
• Low Frequency Analysis Examples
• Assignment 5: Modal Analysis of Your Space, Room Modes, and Low Frequency Control

Lesson 6: Sound Isolation Techniques

• Mass vs. Decoupling, and Coincidence Dip
• Specifics of Room-Within-a-Room Construction
• Assignment 6: Sound Isolation for Your Production Studio

Lesson 7: Audio Systems Fundamentals

• Analog vs. Digital
• Multitrack Recording
• Signal Processing
• Large-Format Digital Consoles
• Console vs. Controller
• Recording Platform
• I/O and DSP Comparison
• Managing Audio Cabling: Signal Types and Cable Runs
• Assignment 7: List of Components and Signal Flow

Lesson 8: Advanced Schematic Design and Plan Development

• Translating Studio Programming into Schematic Design
• In-Wall Monitor Systems and Monitor Overview
• Main Monitors: Types
• Mid-Field Monitors
• Close-Field (a.k.a "Near-field") Monitors
• Amplification
• Laying out the Elements
• Rendering the Plan and Elements in CAD
• Assignment 8: Detailed Schematic Layout and CAD Document Package

Lesson 9: Internal Room Acoustic Treatment Technique

• Low Frequency Revisited
• High- and Mid-Frequency Absorption
• RT60 Guidelines (500 Hz - 1 kHz)
• Calculating/Predicting RT60
• High- and Mid-Frequency Reflection/Diffusion
• Commercial Diffusors
• Integrated Internal Acoustic Room Design
• Safety, Code Compliance, and Fire Proofing
• Assignment 9: Details for Internal Room Acoustic Treatment

Lesson 10: Studio Monitoring

• Monitoring Fundamentals
• Monitor EQ, Phase Alignment, and DSP Options
• Self-Correcting Monitors
• Final Measurements and Adjustments
• Surround and Beyond
• Assignment 10: Final Project (Part 1)

Lesson 11: Studio Case Studies and Individual Project Studio Refinement

• Iconic Studios
• Modern Large-Format Recording Studios
• Modern Production and "Project" Studios
• Setting Your Sights—Finishing "Your" Studio Project
• Assignment 11: Final Project (Part 2)

Lesson 12: Advanced Audio Systems Design

• Power Regulation/Power Conditioning
• Grounding RFI/EMI
• Digital Audio Transfer Protocols, I/O Revisited
• Audio Networking (AoIP, Dante)
• Signal Flow Revisited—The Hybrid Recording Studio
• Case Study: Berklee's Mastering Suite (160 Mass. Ave., Boston)

Requirements

Proof of a bachelor's degree.

Ready to submit an unofficial copy of your transcript?

Prerequisites and Course-Specific Requirements 

Prerequisite Courses, Knowledge, and/or Skills Completion of  Acoustics  and  Audio Fundamentals for Recording  or equivalent knowledge and experience is required.

Textbook(s)

• Master Handbook of Acoustics (7th Edition)  by F. Alton Everest and Ken Pohlmann (McGraw Hill TAB, 2021)
• Understanding Audio: Getting the Most Out of Your Project or Professional Recording Studio (2nd Edition)  by Daniel Thompson (Berklee Press, 2018)
• Recommended: Architectural Acoustics: Principles and Practice  by William J. Cavanaugh, Gregory C. Tocci, and Joseph A. Wilkes (Wiley, 2009)
• Recommended: Recording Studio Design (3rd Edition)  by Philip Newell (Focal Press, 2011)
• Recommended: Architectural Acoustics Handbook by Ning Xiang (J. Ross Publishing, 2017)
• In addition to REW, you may also use other room measurement software, such as Smaart, or FuzzMeasure.
• iOS/iPadOS users: StudioSix Digital AudioTools . While additional modules are not required, the Impulse Response module is recommended.
• Android users: AudioTool
• Computer-Aided Design (CAD) software, such as  SketchUp 2021 Studio Software  (preferred),  AutoCAD , or  Revit
• Recommended: Audio analysis and prediction software, such as CATT ,  ODEON ,  EASE ,  SPAN ,  Blue Cat's FreqAnalyst , etc.
• Audio interface
• XLR microphone, such as Sonarworks SoundID Reference Measurement Microphone, dbx RTA-M, or Beyerdynamic MM-1, connected to an audio interface
• USB measurement microphone
• Certain audio interfaces and/or USB microphones may be cross-compatible with your devices, though adapters may be necessary.
• Microphone stand(s) and necessary cables(s)
• Professional-quality studio monitors (pair), such as Dynaudio's or Focal's, as well as necessary cables
• Professional over-ear studio headphones, such as Sennheiser HD 600, beyerdynamic DT 770 PRO, etc.
• Please note: In addition to your Mac or Windows computer, an Android or iOS/iPadOS smartphone or tablet is required.

Student Deals After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact [email protected] with any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in Live Classes. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

• macOS Big Sur 11.0 or later
• Windows 10 or later
• Latest version of Google Chrome
• Zoom meeting software
• Speakers or headphones
• External or internal microphone
• Broadband Internet connection

Instructors

Daniel M. Thompson is assistant chair of Music Production and Engineering (MP&E) at Berklee College of Music, where he has taught advanced production, recording, and mix techniques, as well as music technology for more than two decades.

John Storyk received his architectural studies from Princeton and Columbia Universities. As an independent designer, engineer, and principal designer of WSDG, he has been responsible for more than 3,500 world-class audio/video production facilities, including studios, radio stations, video suites, entertainment clubs, and theaters. 

Jonathan Bickoff is a seasoned professional in the fields of acoustics, engineering, and music. Jonathan’s 15+ years of experience spans across academia, industry, and creative endeavors. 

What's Next?

When taken for credit, Architectural, Acoustic, and Audio System Design for the Modern Music Production Studio can be applied towards the completion of these related programs:

Related Certificate Programs

• Music Production Analysis and Studio Design Graduate Certificate

Related Degree Majors

• Master's Degree in Music Production
• Master's Degree in Interdisciplinary Music Studies

Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at [email protected] .

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Climax Music Studio / ENDLESS SPACE ARCHITECTS

• Curated by 韩爽 - HAN Shuang
• Architects: ENDLESS SPACE ARCHITECTS
• Area Area of this architecture project Area:  304 m²
• Year Completion year of this architecture project Year:  2020
• Photographs Photographs: ESA
• Architect In Charge:  Feng Lin
• Design Team:  Peihan Wang, Xiaosheng, Yuying Bi, Han Wang, Manyao Lun
• Client:  Climax Music Studio
• Structure Consultant:  Wei Zhang
• Hvac Consultant:  Shuibin Li
• Mep Consultant:  Zhiyong He
• Façade Consultant:  Jichao Sun
• Contractor:  Wenlong Jiang and his construction team
• City:  Beijing
• Country:  China
• Did you collaborate on this project?

Text description provided by the architects. Climax Music Studio is a film music studio project designed by Endless Space Architects. The biggest feature of this project is to design a dynamic space in a regular pattern. The design focused on how to make space feels bigger in a narrow and long site.

The idea that the designer wants to convey is that no matter how strong the functionality is, even if it seems to be a closed and flexed space, it's still possible to make space flow by design.

The site of Climax Music Studio is 7.2 meters wide and 20 meters deep. The specific functional requirements of Studio include recording room, main and secondary control rooms, 4 arranger rooms, business meeting plus viewing rooms, storage, music producer ‘s living room, and rehearsal area.

Strategy Because of many functional rooms, the site will occupy a large part of the area by the walkway. The design strategy here is to embed a partially enlarged spatial sequence. The aisles at different levels are superimposed to expand it into an internal public space; enlarged spaces are set at both ends of the aisle, taking advantage of the difference in people's perception time to alleviate the cramped feeling brought by narrow spaces.

The studio must increase the area by mezzanine to accommodate the many functional spaces required. Uses the beam and socket space as much as possible. The steel beams of the original building are partially hidden. The exposed part of the steel beams strengthens the rhythm of the space, and the structure is transformed into an expression of beauty. Digging down ensures that the core functional space on the first floor has sufficient clear height.

Endless Space Architects has always emphasized that the lightest and thinnest building components can effectively solve the functional problems. The mezzanine staircase is thin and light, giving more space to the sitting area. Common recording studio walls are very heavy. By studying materials and details, the designer uses much thinner walls to meet acoustic requirements, leaving users with valuable space width.

New prototype The client hoped that the core function can achieve independent control of the recording room in both control rooms. The designer created a new recording space prototype, in which the recording room is in the middle and used as the axis, one control room in series left and right. In this way, the recording room becomes a space medium. Thus, the two control rooms can be opposite each other, and space continues. Conventional recording studios only have observation windows on one side of the recording room or no observation windows at all. In this regard, it is strongly different from conventional studio types.

The second floor faces south with a short depth and good sunlight. The musicians' living, simple rehearsal and rest spaces are located on the second floor. All these functional spaces are integrated to make the second floor open as a whole.

Project gallery

Project location

Address: b08 shangyi wenchuangyuan, chaoyang bei road, chaoyang district, beijing, china.

Materials and Tags

• Sustainability

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CLIMAX 音乐工作室 / ENDLESS SPACE ARCHITECTS

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Top 7 Recording Studio Design Principles Explained

Today I want to discuss the recording studio design principles you need to adhere to if building a new recording studio. There’s a whole series of issues that we need to approach. Technology and process have improved and we have updated this blog to reflect those changes on 05 / 09 / 21 . Let’s start with the basics.

Top 7 recording studio design principles you must follow

1. room dimensions:.

Length, width, and height. All of these dimensions are critical if you’re going to minimize the issues in the room and there are lots of issues you need to address. Selecting the right dimensions for your room is critical. The correct balance of ratios will go along way to reducing the low-frequency issues within your room. Fewer issues created by proper ratios will result in less material and labor costs.

2. Low-frequency management:

This issue correlates strongly with room dimensions. Low-frequency issues are something that all small rooms have to deal with and you have to deal with them correctly because if you don’t you’ll be working around them for the whole project. Low-frequency issues can smother and blur middle and high-frequency energy. When you are considering music studio design or recording studio design, you must make low-frequency management a top priority.

Recording Studio Design Service

Every recording studio has unique acoustical challenges. Acoustic Fields is your partner with over 25 years of experience, helping you to design a recording and mixing environment that takes the room sound out of the equation.

3. Reflections versus Direct Energy:

This is the wanted direct energy, the straight-line energy from your speakers versus the reflected energy from the room. The straight-line energy from your speakers to your ears has the least amount of room distortion (reflections). You must strike a balance between straight-line energy and room reflections. The acoustic goal is to achieve the resolution you receive from near field listening and expand that resolution out over a wider sound stage.

4. The frequency response of the room:

This is a picture of how the room handles energy at all frequencies. A frequency response curve will show us where our problems are and how large they are. A response curve will also help us locate which surface area is causing the problems. We have axial which is two wall issues, tangential which are four wall issues and then finally oblique which cover all six surfaces within our rooms. Axial modal issues between two parallel walls are the largest problem when it comes to low-frequency management.

5. Reverberation times:

Reverberation is the summation of all the reflections from the wall surfaces. It is room distortion. The walls, floor, and ceiling are all offending surfaces. We must locate the surface areas that are contributing to higher reverberation times. We must locate the surface areas that produce the most reflections at our listening or monitoring positions. We must assign the correct treatment type and amount to those surface areas.

6. Monitor size versus room:

Large speakers in small rooms are not a good match. Lots of energy in a small room with poor room dimensions causes many issues with our frequency response. Larger speakers exaggerate the low-frequency issues by placing too much energy within the room. The room dimensions will not allow for that energy to “breathe”.There’s a balancing act between the size of our speakers and room size. I made a separate video on this issue which you can see  here .

7. Sound treatment:

People confuse sound treatment with noise management issues all the time. Acoustical treatment is for issues that occur within the room. These are low-frequency issues that cause bass “boom” and are related to room modal pressure issues. Reflections from the wall surfaces also add to higher reverberation times which is one form of room distortion. Pressure and reflections are the two things that we use acoustical treatment for. They have nothing to do with barrier technology or keeping noise that’s generated from the inside and noise that’s generated from outside the room, outside the room. Here is a blog and video on this very issue which you can see  here .

So we have a lot of variables that we need to consider when it comes to adhering to correct recording studio design principles. One of the biggest issues from these principles is working around the room modes that we see.

Managing low frequency energy is critical

People are always unhappy with the way their room is handling energy, especially low-frequency energy. They do not know what to do or even where to start. They read about putting products in the corners of their rooms when the problems they are experiencing are caused by the whole wall surface. They do not know what type of treatment to use, how much of that treatment type, and where to put the treatment. Their frequency response curve shows issues at 80 Hz. but they don’t know which wall surfaces are causing the problems and how much and what type of treatment to use. The bottom line is you shouldn’t be working around room modes. The room should facilitate what you’re trying to accomplish acoustically in the room.

Directed Vs. Reflected 

Direct versus reflected energy. The direct is that straight-line energy from your monitors. That’s the music only, what’s in the mix, and obviously the reflected energy from the sidewalls is the room itself. We have this balance between direct versus reflected energy. This is called critical distance which is a very important variable to take into consideration when we’re looking at recording studio design principles. There are some physical positions within the room that smooth out frequency response and balance the direct with the room sound.

Image Shift

Image shift is another room dimension issue. If you’re working around uneven distances between your sidewalls, between the left and right channel speakers, your image is going to be pulled to one side or the other depending on the distances. Distances that are uneven between the speakers and the sidewall and distances from the listening position or monitoring position to those speakers themselves. Distances that are not wide enough will produce an image that is over center focused and not an accurate representation of what is in the mix.

Frequency Response

The frequency response of the room, this is a picture of the room’s health if you will acoustically. If it has a lot of peaks and valleys in it instead of something smooth and more even and more linear if you will, then you know, we have to look at these issues because these are all acoustical issues that translate into noise in our mixes. We want to minimize the frequency aberrations by selecting the proper room ratios and applying the correct treatment type and amounts to the correct surface areas.

Absorption / Noise

Sound absorption and noise management require two different technologies. Sound absorption is for treating inside the room. Sound absorption and sound diffusion are technologies that must be taken into consideration for any recording studio design or music studio design. Noise technology is for keeping noise inside the room from leaving the room. It also works the other way in keeping the noise from outside the room from getting inside the room. These are different sciences that require different methodologies to treat. Noise technology deals with mass and density where absorption and diffusion technologies are dealing with reflections and pressures.

Correct Room Dimensions Are Key

In our recording studio design or music studio design, we have focused on some of the things that are problem areas and how to treat them. We must first start with the correct room width, height, and depth to minimize unwanted low-frequency pressure build-ups. Our next task is to manage the reflections inside the room itself depending on our usage. We can have a recording studio design philosophy or a music studio design emphasize. Whatever the chosen usage, we need proper size and room volume couple with the proper amounts and types of all frequency treatments.

With the proper room dimensions we minimize pressure issues, we deal with critical distance, that distance between the direct and reflected energy from the room and therefore it influences the amount of treatment that you use. If you have a smaller room and you have large drivers then you’re going to need more low-frequency treatment. If you use proper room dimensions then you will need less low-frequency management addressing the lower frequency areas. Less management, fewer treatment results in less cost. Everything is related to everything else.

You get more sound also if you have proper room dimensions so that’s a real critical factor but you can achieve that with those proper room dimensions. Obviously that’s your great starting point and then you have less cost involved with it.

Measurement driven

All of your decisions in the process of building a recording studio design or a music studio design need to be measurement-driven. You must qualify and quantify all of your noise issues along with reverberation time management. Knowing what your issues are will help us design the proper treatment, types, and positions within the room to deal with all the measured issues. Knowing the issues and the treatment types, amounts, and materials required to treat will assist us with our cost analysis. Your problems may be too great for your budget. You may have to downsize your room to better fit within your budget restrictions. Proper dimensions and the room volume go a long way for your treatment needs giving you more sound and costing you less money and if you apply some measurements to the situation you can go a long way to getting a good sounding room.

One Size Definitely Does Not Fit All

From all of our discussions on recording studio design or music studio design, we must realize that one size does not fit all. One room size for all usages whether a recording studio design or music studio design will not work. You must decide your usage and match the energy requirements of your usage to your room size and volume. There are volumes and dimensions of rooms that will simply not work, so one size does not fit all and if people are telling you that, they’re misleading you.

Each room size and each room usage has particular requirements. The size and volume of the room matters especially for low-frequency energy management and reflection control and our critical distance element. With noise treatment, don’t confuse the treatment of energy within the room with noise from outside the room, they’re completely different approaches, completely different technologies. A lot of companies would like to tout their sound-absorbing treatments as noise and soundproofing technologies, it’s just simply not true. With room goals and usage, a little bit of planning upfront, determining what you want out of the room, what are your goals, what are your acoustic goals in the room will determine how you’re going to use the room and thus the treatment, size and volume of the room.

I hope this discussion on recording studio design and the principles that we follow has been of use. If you want to learn more about this subject, please sign up for our free room acoustic treatment videos and ebook which provide step by step instructions on all major room acoustic issues. Get instant access by  signing up now .

About Dennis Foley

I am an acoustic engineer with over 30 years’ experience in the business. My technology has been used in Electric Lady Land Studios, Sony Music of New York, Cello Music and Films founded by Mark Levinson, and Saltmines Studios in Mesa, Arizona, along with hundreds of others.

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15 comments.

Hello Dennis, is it possible for you to do a room analysis for a room that’s not built yet? Meaning could you tell me what is needed in the construction of the walls for a control/mixing room if I sent you the dimensions? Iso clips vs QuietRock?

The first rule of acoustics is to do no harm. You must determine usage which you have done. For a control room, noise levels from external noise sources must be addressed. Once you quantify noise, you must design the suitable barrier. The mass and design of the barrier must match the frequency and amplitude of the noise. Your next task is to design the treatment inside the control room. You must manage the low frequency energy first and that can be done inside the walls themselves so you do not have a bunch of low frequency absorption sitting around. Both the barrier and the internal room treatment must be designed before any building occurs. The last thing you want is to build the treatment of the room without taking into account the external noise issues. You will have a treated room that you can only use at certain times because the noise level from external sources is too high.

I`ll definitely gonna buy your products when I´m finishing with my studiobuilding.

Great information.

All the best! Erik

Shall i ask for the Room dimension and volume i considered that’s its so important

Hi Mohamed, Fill out the information in this link: https://acousticfields.com/free-room-analysis/

I have a room in my house that is 18 by 12 and a ceiling height total of 88 I want to build a slightly smaller structure within those parameters. I would like to know what would be the optimal Dimensions as a starting point

T, The room is too small to begin with. Your ceiling height will produce many low frequency issues that you do not have the space to treat. Try for a 17′ width and a 23′ length to minimize the issues caused by 8′

I’m prepping to build a recording room into an a large garage (current dimensions 16’ wide, 16’ tall, 42’ long) with 2×6 insulated/sheetrocked walls and ceiling. I plan to build a “room within a room” style recording space decoupled from the building exterior walls. What would be a good size for this that could fit a 5-6 piece band? My initial thought has been to frame it up as 15’ W x 20’ L x 12’ H using 2 layers of 5/8” Sheetrock on each side of the walls of the inside structure but as this is a large undertaking I’d rather do it right the first time.

Any advice?

Hi Shaun, You need to get another width. Dimensions must vary by at least 25 %. Do not use drywall in your build. It has a negative impact on middle frequencies. You can build low-frequency management into the walls or use freestanding units. Fill out the information in this link: https://acousticfields.com/free-room-analysis/ Lets discuss your options by phone.

Dennis, I had recording studios in the early 80’s…(analog) I didn’t find successful “mixes” until I hired an Acoustic Engineer to recommend materials while “TUNING” our rooms. We are considering building a NEW studio (commercial) from the ground-up in the beautiful Hill Country. If we decide in the very near future to begin…are you available for hire to consult. And would you have sources for Architectural design? Blessings, Vic Q

Vic, Yes, we can assist you with both treatment and noise issues.

Building a recording studio within a large shop up in Oregon. Ceiling height I’m figuring on 11 ft. Thinking of 20 ft. wide, by 28 long, divided into conrol room and ‘live’ room. Walls to be non parallel. Looking for input before we start exterior walls.

D, Fill out the information in this link: https://acousticfields.com/free-room-analysis/

I work at a church and I plan on filling out your Room Analysis once I get the dimensions of my sanctuary. I have noticed that in some places the sound is almost unbearably harsh while in others there is actually a sweet reverb. Can acoustic treatment help me to derive maximum benefit from the natural reflections of the room?

Reverberation times can be balanced throughout the church with proper treatments placed on the correct surface areas.

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How to set up a recording studio: case study with genie mixed it.

We recently worked with an up and coming music producer out of the midwest! Here is a little info from our featured music maker:

"My name is Eugene, people call me Genie. I’m 24 years old & I’ve been making music for 8 years now but more professionally the past 4. I’m an audio engineer/recording artist/entrepreneur and a full time dad. Born and raised in Des Moines, Iowa."


Support Genie:

• Instagram: @geniemixedit
• Facebook: @geniemixedit 
• Website: smarturl.it/followgenie  


Check out the before and after hand clap test results from the booth. The results are dramatic!

In the before recording you can hear a loud noticeable echo with a long time for the sound to decay after the clap. After the acoustic treatment was placed in the room you cannot hear any echo and the overall reverberation in the room is much more subtle and not noticeable on the recording. 

With proper acoustic treatment like Genie you can get crisp and clear audio recordings!

Genie created a recording studio with a separate vocal booth and control room. This involved acoustic treatment for two separate spaces.

What are the benefits of a multi room studio space?

The benefit from having a vocal booth separate from the mixing area is that it allows the engineer to have more control over the sound of the recordings. Genie also included a window between the two room so there is a clear patch for non-verbal communication between the engineer and the rapper or singer. 

The downside is that it can be more expensive and time-consuming to set up, as you need to build or buy two separate spaces and treat them acoustically. If you will make an income from your studio like Genie it may be worth it to invest into a multi room setup.

If you are simply doing some hobby production in your spare time in your basement or a bedroom then you would be fine with treating a single room. If you need a vocal recording area in your single room you can always build a vocal shield or create a vocal booth area of the room like in the corner of a room shown below. 

How do you treat a vocal booth for best sound?

The first thing to consider is the size of the room. A small room will have a very different acoustic signature than a large room, so it's important to choose treatments that are appropriate for the space you have. 

Larger vocal booths like Genie's can be more forgiving than smaller vocal booths. This is because the smaller the room, the more problems with standing waves and room modes. You will want to go with full coverage on smaller vocal booths and closet type setups. 

The pic below shows Genie's recording booth with the panels placed evenly on the walls and the ceiling creating a wonderful environment for recording vocals and more!

In general, you want to absorb as much sound as possible in a vocal booth. This means using materials like acoustic panels to absorb sound energy. You also want to make sure that the room is well-sealed so that sound doesn't leak in or out. Typically vocal booths will have up to 70% coverage in the room depending on the size of the room and the preference of the studio owner. 

The most important spots to treat inside the booth are the main reflection points, and the area around the vocal performer. Genie covered these areas with our 3 inch acoustic foam wedge panels .

Notice the carpet in the room as well. This helps to further dampen the reverb inside the room and also helps cut down on the second reflections. 

What is the best acoustic treatment for a control room in a studio? 

You will need to add acoustic absorption to the walls and ceiling inside of the control room. This will help reduce echoes and sound reflections that can interfere with the mixing or mastering process. 

The first step is to find the main reflection points in the room and treat those with absorption panels. The main reflection points are shown in the diagram below.

By treating the reflections points with absorption you will be creating what is called a reflection free zone (RFZ) at the listening position. The RFZ is the area in front of your monitors where reflections from the speakers are suppressed. This gives you a "dead" spot to work in, which is essential for mixing and mastering. 

You also want to add bass traps in the room. Corner bass traps are an effective way to deal with low frequency build up in a room. The acoustic paneling combined with bass trapping will give your room the flat frequency response you are looking for.

You can see Genie did an amazing job with the install! Make sure to hit him up if you need any professional mixing of mastering services!


Don't forget to support Genie:

• Website:  smarturl.it/followgenie 

We hope this info was helpful. If you have any questions at all please   contact us ! We are glad to help you with your recording studio!

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I’m happy that you mention that adding acoustic absorption to the walls and ceiling inside the control room is the best way to control the studio room. My friend’s boyfriend is setting up a recording studio here in Midtown Manhattan, NY, since near his studios are establishments. All the tips and information you share here in your post are helpful. I make sure to mention it to my friend about it.https://michaelpirolimixing.com/recording-studio

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IRJET- AN ANALYSIS OF ACOUSTIC TREATMENT ON RECORDING STUDIO

https://www.irjet.net/archives/V6/i10/IRJET-V6I10161.pdf

Related Papers

Marco Mastromei , Francesco Leccese , Giacomo Salvadori , Michele Rocca

The factors that are able to influence the success of a professional recording studio are vari-ous, they include the equipment quality, the competence of the technicians, the skill of the executors and the functionality of the setting. However the acoustic quality of the studio is the essential factor to obtain the best results as possible. In this paper, a real study case has been analyzed by the Authors referring to the new recording studio “Il Musicante” (Lucca–Italy) aided by the well-known room acoustics prediction software CATT-AcousticTM.

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This engineering brief addresses the refurbishment process of the School of Music, Australian National University recording studios to include focus on the historical, pedagogical and research requirements of a 21 st Century studio facility. The brief will first address issues of space, heritage and purpose before considering the acoustic (re)design process. Furthermore, the brief examines issues of technological integration and facilitation of analogue, digital and hybrid workflows. Finally, the brief considers the research and pedagogical remit of the refurbished facilities.

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Studio ergonomics is concerned with how the studio is designed for maximum comfort, efficiency, safety and ease of use. Thus, the most important aspects of studio ergonomics are soundproofing (sound isolation) and sound conditioning (acoustic treatment). Their common aim is how to manage and control sound into, out of and within the studio. This is necessary because the structural parameters (i.e. the acoustics-shapes and dimensions of the room) do cause problems: either by coloring the sonic quality of recordings or distorting monitoring perception of the recording engineer. Therefore, this article is poised to shed more light on role of structural parameters in the control of room modes and the elimination of standing waves. KEYWORD: Primary modes, axial mode frequency, standing waves, studio room dimension ratio, reverberation and structural parameters. INTRODUCTION According to (Roberts 2001), the most important aspects of studio ergonomics are soundproofing and acoustic treatment; thus, their common aim is how to manage and control sound into, out of and within the studio.

Julian Romero

Nowadays there is an explosion of home music production activities such as recording, mixing and mastering, which usually takes place in small spaces, which are not ideal for such tasks. Their reduced volume and the typical construction structure of homes, which usually have the common factor of strong walls facilitates the formation of standing waves and non diffuse sound decays which decrease the immersion sense and the realism of the program. The interference of the sound field with the relatively big size of the furniture and equipment in relation with the dimensions of the room affects also the quality of sound. Coloration of sound perceived as a change of timbre, rhythm sensation and signal1 pitch is the main problem encountered in music reproduced in these spaces. It happens varying in a complicated way, as it depends on temporal and spatial variables. In order to minimize these problems, acoustic treatment needs to be applied to the room. The traditional ways of measuring rooms to assess this treatment had not taken in account the directionality of the sound energy and their effect in terms of perception of stereo image without blur estimation caused by harmful reflections, neither had taken in account what are the characteristics of neutral rooms. This document aims to investigate the extraction and analysis of temporal and spatial distribution early sound decay. A method based on B-format signals is adapted to small rooms. It can map the spatial and temporal distribution of sound energy and diffuseness in three dimensions. Once the data is collected it is possible to extract the information in time and frequency domain and use it to infer issues of perception based on psychoacoustic models. The ultimate objective is to find out useful descriptors to characterize the acoustic quality in critical listening rooms.

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A recent renovation of the sound recording studio at the University of Victoria, School of Music, represents the first major capital project within the School since its opening in 1968. This case study presents an overview of the project from initial briefing to completion, including discussion of the design opportunities and limitations. Acoustical models used in the design process are presented and used to illustrate the challenges faced when attempting to balance control room performance for both research and teaching purposes.

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The Creative Music Networks of Regional Recording Studios: A Case Study of the Sunshine Coast and Gympie

• First Online: 22 March 2023

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• Lachlan Goold 8  

Part of the book series: Pop Music, Culture and Identity ((PMCI))

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As the recording industry sector further detaches from the hegemonic record company structures of the pre-internet era, this project analyses the status of the recording studio sector in the regional areas of the Sunshine Coast and Gympie in Queensland, Australia. This research specifically focuses on the function of recording studios within a creative network of regional music scenes. Recording studios are considered a network of cottage industries predominantly run by individuals and small partnerships as the result of a general movement into technology-driven do-it-yourself (DIY) modes of production. This research investigates if this change in recording practice enables an increased recording capacity for regional areas. I use in-depth interviews to investigate the emic issues of the recording studio scene in the Sunshine Coast and Gympie areas. This study indicates that the proliferation of the domestic studio has enabled the Sunshine Coast and Gympie to capitalize on their non-urban and idyllic surrounds without the overhead required of a commercial urban-based operation. This case study shows that the reduced cost of recording technology has allowed the regional recording sector to flourish outside the city and remain a vital part of the music economy. While it would appear that democratization of recording technology has occurred, the lack of gender and racial diversity in this study shows there is further progress required before true technological democratization is achieved.

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Acknowledgements

The Chair of the USC Human Research Ethics Committee (HREC) has reviewed and granted expedited ethics approval for this project with the HREA approval number, A201470. Please email [email protected] if you have any concerns regarding ethical considerations of this research. I would like to acknowledge the participants for giving up their valuable time and discussing their practice, and also for agreeing to be part of this research. Thanks also to my colleagues at the University of the Sunshine Coast and my wife, Tylea, for helping me with interview transcriptions.

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School of Arts and Social Sciences, Southern Cross University, Lismore, NSW, Australia

David Cashman

Griffith Centre for Social and Cultural Research, Griffith University, Nathan, QLD, Australia

Creative Arts Research Institute, Griffith University, South Brisbane, QLD, Australia

Natalie Lewandowski

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Goold, L. (2023). The Creative Music Networks of Regional Recording Studios: A Case Study of the Sunshine Coast and Gympie. In: Bennett, A., Cashman, D., Green, B., Lewandowski, N. (eds) Popular Music Scenes . Pop Music, Culture and Identity. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-08615-1_7

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The Post-Construction Assessment of a recording studio – a case study

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CASE STUDY OF ACOUSTICS IN STDUIO

If you want to know about the site analysis or principle of daylighting design or acoustics in cinema , please click the link.

Acoustics in a studio is an essential factor to consider when designing and building a professional recording studio. A well-designed acoustic environment will ensure that the recordings are of high quality, and the final output is clear and accurate.

1) The case study

Location :   TWR INDIA, L-15 green park, new delhi – 110016

Owners :   The office is owned by trans world radio.

Size of facility :   A small office building – 1100sqm floor area with 3 recording studio facilities.

2) Site plan

Location & site sonic environment:

• Office is located in a residential colony – green park
• Ambient noise is low but can reach 80-90 db at times (occasional trucks & air traffic – localizer path for airport is nearby
• Office building is corner plot, market is also nearby. Hence the added possibility of high noise levels outside.
• Studio facility inside cannot compromise on sound isolation due to such noice levels outside.

3) Basic zoning

Spatial organization:

• The office spaces are distributed all over the building.  The ground floor contains the core (staircase & toilets) in the centre which serves the rest of the floor .
• Location of the core facilitates most efficient use of circulation space.
• Studios are at the rear of the plot – most private – least disturbed

4) Outside vs inside

• No acoustic treatment is provided outside the studio area.
• The photos show the contrast in the surface treatment outside the studio area and inside.
• The corridor allows “leaked” sound to dissipate – in case the doors are left open while editing.
• This circulation space is the first step in reducing ambient noise from outside the studio area to inside.

5) The recording facility

• The studio is structurally isolated by “floating” studio walls, preventing structural noise entering the studio.
• Studio walls are separated from the main structure by a gap filled with glasswool .

6) The control room

• The control room has a completely different acoustic response as compared to the outside corridor.
• Frequency absorbers ranging from 100 hz to 4000khz are placed on the surfaces in the studio.
• Low frequencies below 200 hz become very difficult to handle and hence absorbers below 200hz are generally not provided.

7) The studio

• The studio has similar acoustic treatment as the control room.
• Directly opposite glass, there are high frequency absorbers (on the back wall). This is because high frequencies get reflected off hard surfaces very easily.
• Reverberation time in the control room as well the studio should be ideally 0.35 sec.
• Frequency – perforation percentage chart

@ 125 hz   -1.25%   perforation out of total absorption area @ 250 hz  -6%  perforation @ 2000hz  -12%  perforation

8) Acoustic absrorbers Mid frequencies

Mid frequency absorbers:

• The walls appear to consist of simple wooden strips placed diagonally across the walls.
• Upon closer inspection, it is found that there are gaps between the wooden strips which amount to 12% per sqm with acoustic absorbers behind it. These absorbers cater to mid to high frequency ranges.

9) Acoustic absrorbers Low frequencies

• The ceiling, which looks ordinary actually acts as an ideal low frequency absorber
• Due to the larger wavelength of the lower frequencies, a lower degree of perforation is required. For frequencies ranging from 200 down, perforation size becomes close to nil.

10) Acoustic absrorbers High frequencies

• The floor is carpeted which acts as a very good high frequency absorbers.

Some specialized high frequency have also been added to even distribute the frequency absorbers within the room

• High frequencies have very little energy and get absorbed very quickly. By simply hanging curtains or changing the table cloth, the frequency response within the studio changes for high frequencies.

11) Acoustic reflectors

• The doors are some of the only large surfaces without sound absorption features.
• To prevent overkill (over absorption) reflective surfaces are required within a studio to reflect off sound, creating a livelier environment.
• The glass windows between the recording studio and the control room acts as a large reflector.
• A large gap between the two sets of glass provides ample insulation
• This is the most vulnerable part of the studio is terms of acoustics and has to be handled very carefully.
• Dehumidifiers like

12) A/c noise insulation – muffler

• Air flow from the a/c units sometimes can cause whistling or hissing sounds from the ducts.
• Muffler absorb air flow noise and create a completely quiet environment.
• Mufflers are placed at critical points after which duct turns are minimum.

Eg. As soon as the duct enters the studio.

13) Ligthing moods

• Two types of lighting have been provided on the ceilings – one is task lighting (cool) and the other is for a warmer effect.
• When working for long hours, the studio recorder may get tired. A change in the lighting mood can prove to be very relaxing and play a positive impact psychologically.

14) Other isolation methods

• The control room has a window which lets in some daylight. It is very important for the studio operator – for good mental health).
• Isolation of the studio while incorporating a large window such as this was a design challenge.
• The principle followed was the same as between the control room and the studio.

In conclusion, acoustics is an essential factor in the design and construction of a professional recording studio. Skywalker Sound is an excellent example of a studio that has been designed and built with acoustics in mind, and this has resulted in the production of high-quality sound recordings.

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Designing iZotope’s Portable Recording Studio

• Audio Case Studies

For those who have never picked up a guitar and dreamed of being the next Tom Petty, iZotope designs award-winning audio products and technologies for musicians, music producers and audio post engineers around the world. In a nutshell, they develop the software that makes the music you listen to sound awesome.

As a talented musician himself, iZotope CEO, Mark Ethier saw a need for a professional recording system where technology didn’t get in the way of a creative moment. iZotope then set out to develop a simple recording system that could be used by anyone from professional musicians and garage bands to aspiring solo artists. Spire Studio was born.

Spire Studio is effectively a portable music recording studio. It is an all-in-one, wireless, multi-track, battery-powered recording system. With a built-in studio mic, 2 inputs, automatic soundcheck and 4+ hours of battery life, it has everything for recording a song. It auto-adjusts the recording levels for instruments and vocals thereby making the recording process intuitive for the musician. The built-in Wi-Fi connection simplifies the process of collaborating with other artists. Finally, the mobile app provides a highly visual set of tools to the mix the final track.

With the goal of creating Spire Studio to be portable with professional sound quality, iZotope approached Cardinal Peak with an innovative industrial design, a user experience vision, and some demanding performance requirements. Our hardware engineering team worked closely with the iZotope development team to create a product that maximized functionality and performance, and realized the user interface. This included developing the detailed electronic hardware design for the housing as well as all the circuit boards. Beyond the hardware, Cardinal Peak set-up the Linux environment and developed and tested all the drivers for this innovative connected product.

So, grab your friends, plug in the Gibson and start recording some hits using Spire Studio .

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Acoustic design for a recording studio

Home recording and music rehearsal studios present interesting acoustic challenges – principally sound insulation in both directions and the control of reflections within the room itself. We love working on them – and admit to a little envy with each one we do!

Anderson Acoustics recently acted as acoustic consultant for a new home recording studio being retrofitted into a house in Brighton. Our client is an award-winning UK singer-songwriter and we worked on the project with architect Linda Turner at iNature .

We provided acoustic design advice regarding the room size, layout and shape, as well as recommending the most appropriate acoustic finishes. We advised on both the internal acoustics within the recording space, and the environmental acoustics to prevent disturbance from outside and mechanical ventilation noise. It was also important to ensure that the noise from the studio itself would not cause any disturbance to neighbouring properties.

We performed sound tests and room acoustic checks to ensure that the space conformed to the required specification and we were pleased to receive positive feedback from the client, having met their expectations.

Joe Baggaley, Director and Principal Consultant of Building Acoustics at Anderson Acoustics, commented “Who doesn’t want to be a rock and roll star? With proper acoustic design, anyone can construct a professional quality recording studio anywhere, meaning you can be as loud as you like, when you like, without bothering anyone”.

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Aditya Modi designed most of AR Rahman's studios in Mumbai and his home studio in Dubai.

The multi-million-dollar Firdaus Studio by AR Rahman at the Expo 2020 site, now called Expo City Dubai, boasts many firsts. It is the region’s only music studio to be mentored by Grammy- and Oscar-winning music composer AR Rahman, and Dubai’s only certified Dolby Atmos HE studio. In an interview with Vijaya Cherian and N Nomani, studio designer Aditya Modi shares details.

Firdaus Studio’s concept is part of the Expo 2020 legacy, which continues to showcase Dubai as a cultural hotspot. The studio is part of a greater vision – as Dubai aimed to become a melting pot for the arts, culture and movies, it was conceived as a hub for the region’s music industry. In addition to creating a world-class recording studio, Dubai would also debut an all-women’s orchestra, the first of its kind, at Expo City Dubai. Thus began the journey of sister entities Firdaus Studio and Firdaus Orchestra.

Firdaus Studio was designed by Aditya Modi, founder of Modi Digital and a sound engineer for more than two decades. A long-time associate of AR Rahman, he was the chief designer of his studios in Mumbai and his home studio in Dubai. According to Modi, Rahman visualised Firdaus Studio as a place where “international artists and different kinds of music and cultures” could come together in an “inspirational space that is beautiful to work in and has excellent equipment and people to work with … Firdaus Studio has been essentially designed to cultivate and promote music in the region.”

Firdaus Studio extends far beyond this, however. One selling point is that “it’s an excellent orchestral recording facility with superlative equipment including top-of-therange microphones, preamps and consoles”, Modi elaborates. Catering to an international audience, the location at Expo City Dubai is its other main selling point. Modi calls it a “destination recording facility”. Away from the city, he claims it is the ideal spot for creatives and musicians.

“All the audio, video and networking are interwoven. The building is almost alive in a creative way” – Aditya Modi, founder, Modi Digital

“Musicians like to cut away from the hustle and bustle to focus and do their work. This studio has a space of its own so artists can focus and get creative. They can stay nearby at the Rove Hotel, Expo City, which is just a five-minute walk from the studio, work when they like (the studio is open 24/7), and then get back to the hotel. There are also multiple restaurants around catering to different tastes, and that’s a big advantage.”

The only challenge Modi faced with bringing Firdaus Studio to fruition was the pandemic. As supply chains around the world came to a standstill, the studio had lead times of one to two years for a lot of the equipment it needed, and the company had to juggle quite a bit. “Eventually we did manage to get top-of-the-line equipment within the timeframe, but the logistics were challenging,” says Modi.

Being fully owned by Expo 2020 Dubai, the planning and execution of the studio building was facilitated by the expo team, which spared no effort and offered a whole team of contractors and subcontractors to undertake the design and construction of the building. “My input was in the building, its usage, the acoustics and AV installation, partial design of the air conditioning, the whole workflow of the space, and other related aspects,” explains Modi.

Steering away from the tradition of dark, dimly-lit studios, Firdaus Studio is a well-lit large space with glass panels that looks out onto manicured green spaces, based on Rahman’s desire to ensure a oneness with nature. “The mandate from AR was that it should look good, feel good, sound good, it should be large and technologically advanced, and host multiple modes – we have three modes in this studio.”

The 12,000sqft space comprises a Live Room, a Control Room, an Auxiliary Control Room, four large isolation booths, and multiple green rooms and lounges where guests can relax, prepare and re-focus. Two performances can be recorded simultaneously.

“We have to be futurecapable and deliver to what the industry demands right now. Dolby Atmos is a huge part of that demand” – Aditya Modi, founder, Modi Digital

Firdaus Studio’s infrastructure is matched to the three ‘modes’ it offers in its double deck facility, with the Live Room the main focus on the ground floor. This is primarily designed to record music, whether from a larger orchestra, a small band or a single vocalist. This space is the ‘home’ of Firdaus Orchestra, where it practises and does most of its work. Mentored by Rahman, the 50-woman-strong orchestra is made up of 23 nationalities from across the Arab world and aims to be at a par with institutions such as the London Symphony Orchestra, Budapest Symphony Orchestra and Prague Philharmonic Orchestra.

Both Firdaus Studio and Firdaus Orchestra are available for commercial hire. The studio can record up to 80 musicians at once (a full orchestra) and boasts best-in-class audio equipment, in-house instruments and microphones from Aston, AKG, Neumann, Sennheiser and Shure.

Next is the studio’s performance mode. The Live Room’s Inhouse Ayrton lighting sets the stage for live performances, from private showcases to ticketed events. Hosting the likes of Coldplay and Lindsay Lohan in the past, the Live Room can facilitate all audio requirements including PA, wireless systems and FOH engineering.

Firdaus Studio also boasts a complete broadcast environment with a fixed 4k video multi-camera set-up for live streaming needs. Movable acoustic panels on the ceiling and four motorised curtains at the windows allow reverb and liveness to be modulated.

“Depending on the number of people performing, we can open or close the panels to create the specific sound signature that we are looking for,” explains Modi. “The curtains perform a similar function as the movable panels that we have on the truss on the roof on the ceiling. It’s basically to change the reverb time and change the acoustics. In different modes, we require different configurations for the panels and the curtains. In the cinema mode, for instance, we draw them closed to reduce the liveness of the room and make the space more dead. And during the recording mode we want it relatively more live, or during the performance mode we would open up all the curtains. When you open them up, it becomes more live, more reverberant, and adds to the reflections. It’s what we call adaptive acoustics. The curtains are a part of that, as are the panels that move on the tracks.”

The music performed in the Live Room is recorded in the state-of-the-art Control Room on the first floor. Featuring an analogue-digital hybrid workflow set-up, it consists of a Neve 5088 console and Avid S6 digital control surface and is certified for Dolby Atmos HE 7.1.4 mixing. Dubbed a “sonic paradise” by Neve, it is ideal for advanced production and mixing sessions. It has multiple ATC, Genelec, Eve Audio and Kii3 monitors available and is equipped for all playback monitoring formats – 9.1.4 immersive, 7.1, 5.1 and stereo. The 40-channel 5088 is fully loaded with Shelford 5052 mic preamp and inductor EQ, and 5051 inductor EQ and compressor modules.

The hybrid mixing console, another feature of Firdaus Studio, allows artists to combine the superior sound quality of the analogue workflow with the ease and flexibility of use of the digital workflow. With the latter non-negotiable for a future-forward studio with Dolby Atmos capability, the studio’s desk frame – custom-built by Sounds Fishy – seamlessly integrates the 5088 into two sections, with the S6 in the centre for digital mixing capabilities.

Modi is candid about fatigue. “Ear fatigue exists no matter what equipment is used. The high-end equipment at Firdaus Studio delays ear fatigue compared to other regular facilities, but it does not eliminate it. An engineer should know when to stop and when to take breaks, and manage his time, health, work and passion.”

“It has this technology where musicians can feed in MIDI notes and the piano will play back those MIDI notes on its own. It’s not an electronic piano, because it has real hammers and strings,” Modi elaborates. It can also receive computer-generated notes, which it then plays back with a “human feel”.

Given all these capabilities, the question of a fourth mode – shooting mode – has cropped up. Although Modi and his team didn’t consciously plan it, Firdaus Studio has become an attractive spot for bands wanting to shoot music or other kinds of videos. “We didn’t plan for a shooting flow initially. We thought it would be more of a side function rather than a full-fledged paid-for service,” says Modi. In terms of usage, all of Firdaus’ modes are in equal demand.

The pandemic also spurred Modi to provide a cloud solution for intercontinental recordings. “Due to the pandemic, people stopped travelling and we had to think of a way for people to sit at their home in Mumbai or Los Angeles and still record using Firdaus’ facility. We figured we could use the cloud to bring all the elements together and make that happen as one real-time recording.”

Data backup has three levels: on-site hardware backup, off-site hardware backup and cloud backup. AVI-SPL, expert in unified communications (UC) applications, AV devices and IT services, is the company behind all the high-tech integration.

In its current set-up, Firdaus Studio’s facilities and technology are potentially unrivalled globally, claims Modi. Going forward, there are plans to introduce a strong educational chapter including workshops, sound engineering courses and collaborations with leading cultural institutions around the world. In keeping with the vision of its founders, Firdaus hopes to be at the epicentre of the music recording industry.

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Bow Tie Remote  Recordings

« Bow Tie Recordings » one of the best Remote Recording Services  in Eastern Europe

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Book a 30 min time slot with the orchestra & choir and get your piece recorded by the best Russian musicians. You can get recorded up to 5 min in 30 min time slot starting from $379 per 30 min

The Studio is fully set up with video & HQ audio live internet streaming . Get your music recorded in Moscow and have full control during recording from your own studio

Moscow Metropolitan Symphony Orchestra and Choir (former «Bow Tie Orchestra») is the best symphony orchestra in Russia. Every musician is an absolute virtuoso . We are studio pros, orchestrators, conductors who have been working in the industry for many years on both sides of the ocean

Fully equipped Mosfilm studio with 80 channels SSL console & huge park of best mics , specially build for orchestra and chorus

Simply check out our tutorial videos with live recorded orchestra. We care about our clients &  offer free live recorded orchestra tutorials devoted to various topics including different tips and tricks about orchestra writing and recording

News  | Blog  « BOW * TIE »

Our passion for music is undeniable. Let us introduce you to our news

• Aug 13, 2021

Another cool video of RMSO & composer Linus Lau - Bow Tie Remote Recordings

• Aug 8, 2021

Ujig feat. RMSO - Bow Tie Remote Recordings in Moscow

• Aug 7, 2021

Bow Tie Remote Recordings in Moscow - Wayne Hoefle "One will Rise"

Moscow Metropolitan Session Orchestra ‎  & Choir

  « Moscow Metropolitan Session Orchestra & Choir » is former known as Bow Tie Orchestra is located in Moscow and inherits traditions of the top Russian Symphonic Orchestras and choirs & every musician is absolute virtuoso.  It was formed  specifically for remote recording and over 5 years has established itself as one of the best services in Eastern Europe. More than 100 composers entrusted their music to the Moscow Butterfly Orchestra. We are proud to say that we have recorded music for such famous composers as Marco Beltrami , Harry Gregson - Williams , Rupert Gregson - Williams , Atli Orvarson , Neal Acree , Mark Orton , Garry Schyman , Penka Kouneva ,   and many others.

Why Moscow Metropolitan Session Orchestra?

Music is our passion . Every recording is one kind of performance for us & we take it extremely seriously. Therefore we dressed in black for our recording every time.  

Every musician of « Moscow Metropolitan Session Orchestra »  (former Bow Tie Orchestra) is top notch professional with many years of experience neither to say that every one of them is an absolute virtuoso. There are 21 winners of international competitions plays in our orchestra. For the past several years « Moscow Metropolitan Session Orchestra » have recorded music for more then 30 feature films and TV series & we happy to say that all our customers come back to us for new recording sessions.  

Our Recording Studio

Perfect for any size symphony orchestra & chorus with up to 250 musicians

If you are looking to record an acoustic ensemble from a small quartet to a huge symphony orchestra with the mixed chorus with up to 250 people the  « Moscow Metropolitan Session Orchestra »   (former Bow Tie Orchestra)   & the « Mosfilm Studio » One is the best way to go.  The studio was designed and build by acoustic genius Tom Hidley and renovated by the founder of the UK-based company Recording Architecture Roger D’Arcy in 2006 . It is  designed specifically for the acoustic recordings with the huge room ( 225 000 cubic foot )  with beautiful natural ambiance. The studio is the perfect solution for any of your recording plans.  

The studio was built by the acoustic genius Tom Hidley

testimonials

Nathan Furst

USA - Movies « Need for Speed » | « Act of Valo r» etc.

"Thanks for showing me what you guys can do! It really sounded great. I really liked the sound of that room. Especially in the low-end, it didn't really get muddy or sloppy. Very Nice! I REALLY enjoyed musicians emotion, which is the most important element for me."

Studio fully equipped for remote recordings

The list of equipment is amazing and will match any professional taste and ideas. The core of the studio is one of the kind analog 80 channel Solid State Logic XL9000k console.  The 5.1 loudspeakers are the famous ATC SCM300ASL G Pro.

The studio is fully set up with video & HQ audio live internet streaming. We use Source Elements software for remote streaming. Get your music recorded in Moscow & have full control during recording from your own studio.

Microphone park is huge & includes:

Neumann KM 184 (2 mics) |  Neumann M 147 (2 mics) |  Neumann M 150 Tube (6 mics) |  Neumann TLM 170 (19 mics) |  Neumann TLM 50 (4 mics) |  Neumann TLM 67 (10 mics) |  Neumann U87Ai (23 mics) |  Neumann U89i (4 mics) |  Neumann USM 69 (1 mic) |  Brauner VM-1 (2 mics) |  Bruel & Kjaer 4010 (4 mics) |  Brue l & Kjaer 4011 (2 mics) |  Coles 4038 (2 mics) |  DPA 4011 (2 mics) |  DPA 4012 (2 mics) |  ElectroVoice N/D 868 (2 mics) |  ElectroVoice RE 20 |​ Schoeps CMC-5U MK-4 (2 mics) |  Schoeps CMC-5U MK-5 (2 mics) |  Schoeps CMC-6U MK22 |  Schoeps CMXY (2 mics) |  Schoeps V4 U |  Sennheiser MD416 U |  Sennheiser MD421 (9 mics) |  Sennheiser MD431 (2 mics) |  Sennheiser MD441 (5 mics) |  Sennheiser MKH 20 (2 mics) |  Sennheiser MKH 40 (11 mics) |  Sennheiser MKH 800 (10 mics) |  Telefunken ELA M 251E (4 mics) |  Telefunken U47M |  Wunder Audio CM7 FET

« Our team »

We firmly believe that nothing can rival the sound of real musical instruments and will be happy to help you use this magic in your own music

Vladimir Podgoretsky

Founder | Artistic Director | Conductor

After earning his B.A. in Conducting from the Moscow State Conservatory and graduating from UCLA film scoring program, Vladimir Podgoretsky has been working for more than 7 years on diverse Hollywood films and animation.  His orchestrator and conductor credits include such films as « Season of the Witch »‎, « Single Shot »‎, « Scavengers »‎, the acclaimed video game « World of Warcraft »‎,  the ABC TV series « Revenge »‎ and others.   

Vladimir composed music for the feature film « The Game of Truth » from acclaimed producer Timur Bekmambetov and worked as an additional music arranger with film composer Harry Gregson Wiliams on his film « Equalizer ». He continues to work as the Artistic Director, Conductor and Lead Orchestrator with « Moscow Metropolitan Session Orchestra » and « Bow Tie Remote Orchestral Recordings »

Gennady Papin

Chief Sound Engineer 

He has been working at « Mosfilm » studio ONE  since 1983 and has diverse recording experience from jazz to symphony music. He has recorded music for more than six hundred movies. His highlights include such recording as The Closing Ceremony of the Olympic games 2014 ,  music for film « Stalingrad » (comp. Claudio Badalamenti) « Day watch », « Night Watch » (comp. Y. Poteenko) « Elvira's Haunted Hills » (comp. Eric Allaman) etc. His recordings « The Adventures of Mark Twain » (Mark Steiner) and « The Adventures of Robin Hood » (Erich Korngold) has been nominated for « Grammy ».

« Rates »

Packages for shared sessions starts from $ 379 per 30 min

Moscow Metropolitan Session Orchestra | Bow Tie Remote Orchestral Recording Service

«  Classical 37 »

strings 10-10-8-6-3

Moscow Symphony MMSO | BOW TIE   orchestra

Best & balanced string sound

See prices here 

« Chamber 9 »

strings 3-2-2-2

Moscow Symphony Orchestra  

Great for chamber music

See prices here

« BTO Film music 25 »

strings 8-6-5-4-2

MMSO | BOW TIE string orchestra

String section with a re-enforced  low end

« BTO Overdub orchestra 35 »

25 str. / ww 4 / ww 6

MMSO | BOW TIE  orchestra

The second take will give you full symphony orchestra sound

« BTO Symphony 55 »

37 str. / 8 ww / 10 brass

MMSO | BOW TIE orchestra

The power of full symphony sound

« BTO Hollywood 100 »

MMSO | BOW TIE   orchestra

The famous & huge Hollywood sound

If you book custom session , we happy to form ensemble by your request.

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Here you can request to book a session. Please fill in your contact informations & create your personalized session!

Call us at | US phone +1 (510) 2904086  WhatsApp +7 (919) 7607755  Skype: volodyavladimirovich  

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« Book a session »

Ready to take your music to the next level? Ready to book a session with Moscow Metropolitan Session Orchestra & Choir  |  Bow Tie Orchestra or have a question about the recording? Contact us today!