If the recording quality depends on the acoustic space, then mixing quality depends on control room design/treatment. There are several concepts to a great control room. When we were designing this room, we understood that it would be used not only by our own engineers, but also by the visiting ones. So we decided to follow one of those several acoustic concepts which is called “Reflection free zone”. According to this concept all early reflections should be redirected by reflecting surfaces placed on the walls and ceiling to other surfaces, which would diffuse or absorb the sound energy. This concept excludes the result of getting a dead room and eliminates all possible frequency mods or bad reflections. Final measurements showed that we got almost linear characteristics with high level of intelligibility and appropriate reverberation time on all frequences.
Another important aspect, aside from acoustics, is the monitoring system. Having a chance to visit various world-famous studios and talk to respected sound engineers, we came to a conclusion that it’s impossible to have all the desirable speakers in our facility at once 🙂 But, among all the candidates there were several which should be considered as “must have speakers”. They are Yamaha NS-10M Studio and ProAc Studio 100. As for the main speakers, for our taste and for more precise control we use Meyer Sound HD-1 and Genelec 8260A.
At the heart of our control room there is a 48-channel Audient ASP8024-Heritage Edition analog in-line mixing console. Beside that, there are 3 racks of modern and vintage gear including preamps, equalizers, compressors and digital reverbs, like the legendary Lexicon 480L, and of course a bunch of great plugins. In the corner we have two vintage Studer Tape Machines (A800 and A80) which provide fully analog path from start to end. We try to cover all the needs of modern production and take the very best of both analog and digital worlds.