Analoly Livshits - acoutician, the President of «Acoustic Group» (Moscow)
"My very first impression can be described in a word from my youth - it's just cool!"

– Considering the soundproofing, all the acoutic solutions made are optimal. The space has appropriate propotions for balanced sound wave propagation: high ceilings, a good height-to-width ratio, there aren’t any parallel walls, on the contrary there are lots of complicated geometriс shapes including the ceiling itself. As a result, sound waves propagate in a room without creating any modes or frequency cancellations. In addition, the main tone hall has an option of changing the sound absorbtion level.

As far as physical characteristics are concerned, all the materials are applied correctly. They differ in qualities and it prevents acoustics from becoming boring. There are combinations of materials used, each has its own absorbtion, reflection and diffusion level. Together they make a successful result.

Svyatoslav Belonogov - russian musician, violist, the Concertmaster in the Tenerife Symphony Orchestra (Spain)

– The project that we are working on right now can be really called a crazy attempt. For instance, there is a piece written for two violas d’amore, which I have to play alone. Moreover, the bass part (it should be played on the bass instrument of course like viola or double-bass) will be also played by me on the same instrument. We’ll see where we can get with this, nobody knows how it will sound like when it is played by one person in steps. There don’t exist many recordings like this in classical music, I remember only one by Yasha Heyfets, when he played Bach on two violins at the concert. But is seems, there haven’t been any recording made with several violas d’amore in history. In other words, this project is unique and it is a great experience.

Viola d’amore is an interesting and complicated instrument. By its nature it belongs to chamber insruments, it isn’t optimized for big halls, that’s for sure. It’s a bit difficult to play, and one should be aware of several nuances: the strings are close to each other, therefore they can contact and create additional sounds. If I play on stage, the listener doesn’t hear much of this stuff because of a distance, but in studio the mics are closer and more sensitive, the player should be very careful when recording. But what I’d like to mention is that in this studio my instrument sounds very rich and simply fabulous. I can say from my pure heart – this studio is a masterpiece, and its creators deserve respect. If feels very comfortable working in this studio. As a musician I can confirm that it is easier to play when you like the sound of your instrument, and in this studio it sounds amazing! The acoustics is just superb!