Though they might no longer be the sole destination for every musician, following the advent of home recording, gear-packed recording studios still hum with a certain magic. Whether it’s those legendary studios overflowing with classic desks, outboard and mics, to those that sport meticulously designed acoustics, to savvy, future-aimed spaces that keep a keen eye on latest trends, there remains a big allure to the idea of laying down your track in a killer studio.

How you feel when writing and recording in a studio space can be as vital as what tools it can provide to help you reach your musical aims. While some studios specialise in vintage-gear signal chains and traditional approaches, the world’s most innovative studios incorporate new technology, modern standards and enchanting aesthetics to make you feel right at home.

In this roundup, we’ve compiled our pick of the ten most innovative studios right across the world. While ‘innovation’ might reflect on how the studios in question have adapted new tech, we also want to highlight those that have clearly had a lot of personalised considerations which make them stand out from the norm. Some are commercial operations, others are the property of the globe’s most accomplished sonic adventurers. So, without further ado, let’s take a world tour of the recording studios at the forefront of tomorrow…

10. Elfo Recording Studio, Tavernago, Italy

Deep within Milan’s surrounding tranquil countryside, lay the sharp, disruptive features of the angular Elfo Recording Studio. This triple-studio complex can house a twenty-piece orchestra and fifty-person choir in its large main room, while the immaculate acoustics of studio two is perfect for tracking, presided over by an API 1608 console, in tandem with DAWs. The elliptical shape of Studio 3 is down to the Elfo team applying a meticulous study of sound refractions, and its LAN and A/V cabling provides the ability to use all the studio’s spaces from one, state-of-the-art central hub. The commercial studio offers production and arrangement services, and their rates cover the use of any and all its thronging equipment arsenal. Eccezionale!

9. Ocean Sound Recording Studio, Giske, Norway

With a breathtaking view of the Atlantic Ocean, as well as the surrounding Norwegian countryside, the purpose-built Ocean Sound was designed by American sound expert Ric Vaughan to be one of the very best acoustically treated spaces in which to record music. With a large live room, twin ISO rooms and large control room, the studio makes for a tranquil haven in which to submerge oneself in the music production process. Its ISO Booths have perfect attenuation of all sound from the main live room, and acoustics can further be manually controlled in the main control room. Custom built gobos are on hand to fine-tune the room’s acoustics to each particular project. A spellbinding space, providing an inspiring ocean-spectacle from its windows, the studio has reeled in the likes of Arcade Fire, Milky Chance, Swedish House Mafia and Ane Brun.

8. Steve Aoki’s Neon Future Cave, Las Vegas, USA

Not just a studio, but the world-dominating EDM producer’s play-centre, Steve Aoki’s Las Vegas complex isn’t just filled with high end tech, but also incorporates skate ramps, foam pits and impressive lighting. “I call it the Neon Future Cave because it’s in the bunker of my house and I wanted to enter into this room where I was transporting myself into the future,” Aoki told us a few years ago. Built around the Slate Raven Z3C digital mix rack, Focal SM9 monitors and a range of Universal Audio kit, Aoki’s HQ is a space that many of us can only dream of, yet for Steve, the true magic of his personalised space is the mindset in which it puts him; “You set your studio up in the way that you want your environment to be, and you know the way you think creatively is going to be part of the process. It’s not just about what plugins you’re using or how high-tech your gear is.”

7. Studios 301, Sydney, Australia

One of Australia’s most acclaimed studios, Studios 301’s legacy has been forged over nearly a century of use. Though the studio stresses its heritage as the longest-running recording studio in the Southern Hemisphere, it has also warmly embraced the next generation. The 301 Academy offers new engineers and producers the experience of working within a professional recording studio environment. Studios 301 also offers a robust online mixing service and has been at the forefront of pioneering audio formats in Australia. Another objective of the studio is to preserve aural history, offering archival and cultural institutions, record labels and more the means to digitise their analogue archives, cleaning up yesterday’s gems for tomorrow’s ears. The large complex is naturally ram-packed with ultra-modern tech, as well as a staff made up of top-tier industry pros.

6. Deadmau5’s ‘mau5 House’, Toronto, Canada

The nerve centre of the rodent-headed magician’s progressive house wonders, Joel Zimmerman’s studio is also a mind-blowing kingdom of kit replete with the EDM megastar’s mouth-watering collection of synths, including his custom Modcan Series A. The Dolby Atmos-certified studio, decked out with nine ATC speakers, is one of the largest Atmos-approved mixing spaces in the world. The super-sized analog Neve console at the studio’s heart is balanced by two walls jam-packed with modular synths, as well as a trove of keyboard synths. It’s, in a word, jaw-dropping. Zimmerman’s dedication to making his studio the ultimate man-cave goes beyond music technology. Downstairs is Zimmerman’s computer suite, with five custom built PCs, a 2 gigabit internet connection and a near-limitless quantity of hard drive storage space – enough to make any nerd weak at the knees. While Joel’s studio is his private production and play palace, it’s a space that many hold up as the ideal to work towards…

5. Blackbird Studios, Nashville, USA

In the heart of music capital Nashville, sits the hallowed Blackbird Studios, a multi-studio complex that is able to cater to any genre or purpose. With an extraordinary array of technology (and some particularly visually impressive room treatment) Blackbird has welcomed such luminaries as Beck, Kesha, Taylor Swift and Kings of Leon amongst others into its aesthetically amazing recording spaces, which have been described as resembling ‘The Four Seasons meets Moulin Rouge’. Its studios simply exude character, from Studio A’s Abbey Road-aping retro-vibe, to the awe-inspiring diffused walls of the Atmos-ready Studio C, Blackbird sports some notably impressive gear, including the largest API Legacy Plus desk ever built, and a specially modded Neve 8070. As with many other studios, Blackbird encourages education, with its own Blackbird Academy enabling the next generation to get in-depth courses in modern production on-site.

4. Metropolis Studios, London, UK

Metropolis’s status as one of Britain’s top tier studio hubs is well-founded, playing host to the likes of Queen, Ed Sheeran, Madonna, Michael Jackson, The Rolling Stones and many more over the last thirty-three years. In addition to its array of tracking and mixing studios, Metropolis offers some of the world’s very finest mastering suites, as well as a series of writing and production rooms. Built within a converted power station, the huge sound complex has close relationships with the world of music academia, and regularly invites students to use its mixing and mastering sessions. Speaking of which, it’s Metropolis’s innovative approach to mastering that has garnered it global acclaim. Founded in 1993 by Ian Cooper, Tony Cousins and Tim Young, Metropolis Mastering’s aim was to go beyond then-standards in mastering. Their frontier-pushing ambitions continue to this day, with 5 mastering rooms, ready for any and all needs.

3. Real World Studios, Box, UK

Stepping into Peter Gabriel’s Real World Studios’ main control room, there’s the unavoidable feeling that you’re boarding a discreetly parked spacecraft, nestled among the bucolic fields, lakes and trees of rural Somerset. A stone’s throw from music technology publishing heartland of Bath, Real World invites artists to let go of their everyday lives, and focus entirely on the creative process, with the residential studio offering dedicated services to facilitate writing, mixing, mastering, post-production, rehearsal and much more. Built in 1986 on Gabriel’s personal – and innovative – take on what a studio should be, the open studios of Real World actively encourage collaboration and networking. Its Big Room, drenched in natural light, is the hub of all, with its 72-channel Solid State Logic 9000K console resembling the helm of said starship. Real World’s unique charm makes it one of our very favourite studios.

2. Hans Zimmer’s Studio, California, USA

Part studio, part top-tier gentleman’s lounge, replete with esoteric decor, gothic skulls and other miscellany. Hans’s home-base is decked out with luxurious sofas, Persian rugs and warm lighting, reflecting its foundational principle of the studio being both a place where the world’s greatest composer will work and chill. While the walls are dominated by a colossal modular patch-bay synth, interspersed with vintage outboard gear, the studio is also cutting edge on many fronts. Zimmer’s aim to make the studio as comfortable as possible goes as far as the 3M multi-touch screen workflow which he uses, with custom-made software designed to help him navigate his go-to DAW, Cubase. High-tech his desktop workflow may be, but the true heart of Zimmer’s studio remains his black Bösendorfer piano, which is often the foundation of some of Hans’s most epic scores.

1. Abbey Road Studios, London, UK

The crown jewel of the studio world, Abbey Road has been the HQ of popular music’s most groundbreaking bands. While its legacy is still a big facet of the studio’s prestige, Abbey Road has embraced modernity and innovation like few others. Launching numerous new studios over the last decade, cementing itself as the premiere destination for modern film soundtracking and, via incubator Abbey Road Red, investing and mentoring those pushing the boundaries of what music technology can be, the St John’s Wood powerhouse remains at the summit of the recording studio industry. Currently, the studio is delving further into the realm of AI in music, VR/AR/ MR, source separation and spatial audio, and has broken new ground in the field of de-mixing. Abbey Road stands today at the intersection between tradition and innovation, a place it has arguably always been. In a previous life (when it was known as the EMI Recording Studios), Abbey Road was the Beatles’ base, and provided them the means to widen the scope of what pop music could be and now Abbey Road’s ongoing quest to expand the music technology playing field continues.

The post Studio Profile: Top 10 most innovative recording studios in the world appeared first on Audio Media International.

Jacob “Biz” Morris is a multi-platinum and Grammy Award-winning mixing engineer. For the last decade, Biz has represented independent Atlanta hip-hop label Reach Records, as a Vice President and Head of Studio. 

Morris has recently embarked on an exciting new chapter in his career by launching “GetMxd,” a cutting-edge company aimed at providing top-tier mixing and mastering services for independent artists at an affordable price. At the GRAMMY Awards 2024, two projects which used MXD’s mixing and mastering services took home awards; Lecrae’s album ‘Church Clothes 4’ and his collaboration with Tasha Cobbs Leonard’s,‘Your Power’. 

Based in the US, Biz set up Atlanta’s first Dolby Atmos-enabled studio with Reach and is currently building a new state-of-the-art Dolby Atmos production space for MXD. Biz set up MXD so that artists operating outside of the majors can access affordable spatial production. He and his team personally mix and master each track, having helped hundreds of artists realise their music’s potential.

How long have you been running and why was your space set up?

I’ve been head audio engineer at Reach Records for the last eleven years, primarily operating out of the four studios we built in 2016. I recently finished my home studio in January and have been mixing out of it a few days a week on days when I’m not at the Reach studios. 

Who helped you build, tune or upgrade your home space?

The studio was designed by Haverstick Design, and a local business in Atlanta built it. I have Focal monitors tuned with a new audio interface, Trinnov Nova.

What artists, presenters or other creators pass through your doors?

The studio at Reach Records is where artist visits are frequent – the space is available for our roster (e.g. Andy Mineo, Hulvey, Limoblaze and Lecrae) primarily, but have also had others including Tori Kelly and Kirk Franklin.

For my new space, I wanted a space that was at home where my kids could come in or be around while I was working. Some new songs I mixed in here include ‘Skin and Bones’ by David Kushner, ‘I Still Believe’ by Lecrae, and ‘UP!’ by Forrest Frank and Connor Price. 

What’s your USP as a studio based on feedback from artists and completed sessions? 

Because we are a “team”, or a larger entity, our USP is we have the unique capability to handle artists’ songs with a careful, personal touch, whilst executing it all in a streamlined and efficient manner. We deliver unbeatable attention to detail through an intuitive and responsive user interface – my new MXD platform, which connects grassroots artists with industry-leading mixing and mastering services at an affordable price.  

Who’s on the team?

I’m lucky to have a fantastic team with me at MXD. I’ve been working with Connor Back since he first joined Reach Records as an intern in 2018. He’s been with MXD through every step of the way, and is now one of our head mixing and mastering engineers. As our list of clients grew, we also brought in Zach Johnson, who plays a vital role in keeping our admin in check. He’s a really valuable member of the team – he’s now moving into mixing Dolby Atmos as his specialty.

How do you stay stay up to date in your home studio and Reach?

What I’ve had to do is figure out a way to stay current with sound/equipment, but also facilitate a streamline workflow that will allow for working on a lot of music and not spend a tonne of time troubleshooting. One example is working in my Atmos room at Reach Records, which uses Dante, the digital audio network.

How would you describe the overall vibe of your home studio? What’s the balance between creating a great sound vs a great vibe – can they exist hand in hand without compromise?

Vibe is super important in a studio. The environment informs how you feel, and how you feel informs your work, as well as the music it churns out. My home studio has a very open feeling. I wanted a lot of windows for natural light and Gavin from Haverstick Designs made this a reality. I chose all white stretch material from FabricWall, which makes the space feel open, light, and breezy. This is really important for me whilst working in an industry that can often feel busy and clustered.

How do you feel about remote collaboration in your studio with apps such as Audiomovers, do you embrace it or does it change the magic in the room?

I love remote collaboration, but some people feel differently, believing in-person collaboration is the way to get the best result. While I agree in-person is often fun and gets the job done, remote sessions can often allow for more flexibility with less pressure. Audio streaming allows us to execute an idea whilst in the spur of the moment. An artist can be anywhere and suddenly make changes to their mix, with their mixing engineer responding to it virtually in real time. In that sense, remote collaboration can be an incredibly powerful and efficient tool.

Can you share a list of the gear you have and the room types and dimensions?

In my room, I have an Apple Mac Studio with a Trinnov Nova and Focal monitors. I also have my studio at Reach Records with more gear if needed. For years, I used a lot of outboard gear, and still do sometimes, but I have really enjoyed the simple set up I use at home. I am currently working on a new mix bus chain and will be installing it in both rooms.

Talk us through your rooms and why they are designed in the way they are?

My home studio is very open and bright with natural light. The rooms at Reach all have different vibes. This allows our artists to gravitate to specific singular spaces, or even oscillate between rooms to keep the environment dynamic. We also created a few rooms that have multiple work spaces inside of them, which allows for hosting writing and production camps.

What’s your dream recording project or client?

This is a hard one. Last year was a big year for me as an audio engineer. I certainly wouldn’t pass on mixing John Mayer if given the chance! 

The post Studio Profile: Interview with Jacob “Biz” Morris appeared first on Audio Media International.

What’s your dream recording project or client?

I don’t think that we have a dream project or client, we love working with artists and producers of different styles and size to help make what they’re doing better in any way we can! There’s genuinely no greater feeling than seeing people come in to the studio, get comfortable, find their confidence and create awesome things. To be involved and facilitate that is what we love doing.

Gear list:

Microphones

Condensers
Schoeps CMC6 x 2
Neumann u47 FET
Neumann u87 x 3
Neumann KMS 105
Neumann TLM 103
Aston Spirit x 3
Aston Origin x 2
Shure BETA 98
Shure BETA 91A
Sennheiser e901

Valve Condensers
Flea Vintage 47
Telefunken ELA M260 x 2
Neumann u67

Ribbons
Coles 4038 x 2
Royer 121 x 2
AEA R88a
Dynamics
Shure BETA 52A
Shure SM57 x 3
Shure SM58 x 2
Shure BETA 58 x 1
Shure SM7B x 2
Sennheiser MD421 x 3
Sennheiser MD441 x 2
Sennheiser E904 x 2
Electrovoice RE20
AKG D90

Plus many more (enquire for further details).

Outboard
Mic Pres / Channels
SSL Dual Mic Pre SuperAnalogue VHD x 24
RND Shelford Channels x 2
API 3124v x 3
Tree Audio The Branch
Retro Instruments Powerstrip
Manley SLAM! x 2
BAE 1073 x 3
AML 1081 x 2
AML ez1081-500 x 2
RND 511 x 2
AMS Neve 1073LB x 2
Millenia HV-3D x 8
Glensound MX6/2/148 BBC x 6
Midas XL4 x 8
Altec 1591a
Audient ASP800

Dynamics
SSL G Series Bus Comp
24 SSL Channel Comp 24 SSL Channel Expander/Gate 
RND Portico 2 Master Bus Processor 
Universal Audio 1176LN
Empirical Labs Distressor EL8X-S w/Brit Mod x2 
Thermionic Culture Phoenix SB 
Retro Instruments 176
Teletronix LA-2A
BAE 10DCF x 2
Avalon AD2044
Dbx 160A x 2
BSS DPR-402
Drawmer 1960

EQ
24 SSL E/G Series Channel EQ 
API 5500 
Chandler Curve Bender
The Swift
A Designs HM2
Manley EQP1A

Effects
Eventide H9000
Thermionic Culture Vulture Super15
WEM Copicat
Vast range of stomp boxes from Earthquaker Devices, Carlsbro, Line 6, Boss, Malekko plus many more.

Monitoring
ATC 110SCMA
ATC SCM25A
PMC 6-2
Yamaha NS-10 + Quad 405-2
Trinnov ST2 Pro 
Beyer Dynamic DT770 Pro x6 
Behringer Powerplay P16 Foldback System

DAWs
Pro Tools Ultimate
Logic Pro X
Ableton Live 11
UA LUNA

Plugins
A comprehensive list of expected plug-ins including but not limited to; FabFilter, Universal Audio, Soundtoys, Waves, Output, Native Instruments, Valhalla, Eventide, Baby Audio, Spectrosonics, Arturia plus many more (enquire for full list).

Conversion – Apogee Symphony I/O MK2 32×32 x 2
Universal Audio Apollo X16

Computers
Mac Studio – Apple M1 Ultra with 20-core CPU, 48-core GPU, 32-core Neural Engine, 128gb RAM
iMac Pro 27″ Retina xeon 3 Ghz, 32gb RAM

Instruments
Extensive list of drums, basses, guitars, keyboards, synthesisers and amps including Moog One, Sequential Prophet Rev-2, Leslie Cabinet, Marshall, Orange, Hammond.

The post Studio Profile: The Mill appeared first on Audio Media International.

Audio Specialist Alex Solano Details His Dolby Room

Trained by the late Recording Engineer Bruce Swedien and inspired by his early adoption of stereo mixing, immersive specialist Alex Solano, founder of AlexProMix, was determined to be on the forefront of the music industry’s next biggest technology: Dolby Atmos. Seeing a window of opportunity as an independent mixer, Solano relied on his industry experience, network of contacts and intensive research to design a brand-new immersive studio fit for his professional mixing and educational work.

“When I made the decision to go from stereo to Atmos, I realized that none of my stereo equipment was compatible,” Solano explains. “I completely gutted my old studio and started from scratch; even my computer was replaced. When I started with Dolby in late 2021 it was just being adopted by the music industry. With the help of my colleagues from Avid and Dolby, I decided to pick a digital audio workstation, and then selected the additional equipment from there.”

For his DAW, Solano chose Avid Pro Tools, with the Avid MTRX Studio acting as his audio interface. “The thing about the MTRX Studio is that it has built-in EQ and time alignment,” Solano shares, “so when it came time to align and tune my speakers, the feature was already built into my interface.” Solano also had a Dolby engineer visit and tune his studio to ensure and verify that it was accurate before he started working in and completing any Dolby Atmos projects. Also, from Avid, Solano chose the S1 Control Surface and S1 Dock. With three total units, 16 faders and the control, Solano can isolate specific speakers to dissect the spatial audio mixes he previews from Apple Music.

To meet Dolby’s SPL requirements, Solano stocked his studio with Bowers and Wilkins monitor solutions, including the B&W 801 Series 1 Tower speakers for left, center and right channels, as well as six B&W 865 S2 speakers, which are placed in pairs of two on the sides, in the rears and in the overheads. Solano additionally relies on LEA Professional Connect 704D and 168D amplifiers, chosen for their support of Dante. With the ability to support Dante, Solano was able to create three networks for his studio: one for Dante, one for his Avid workstation and another for user interface control of the amps and his Eventide H9000.

Also found in his studio are two Genelec 7070A subwoofers that act as bass management and as an LFE send. “Bass management with Dolby is really important,” he says. “You need to be able to pan an instrument above you and not lose any low end. It’s not practical to have full range speakers over you, so you need that bass management.” Additional gear includes Solano’s choice for software: immersive audio plug-ins from NUGEN Audio and Sound Particles.

Today, Solano’s studio acts as a homebase for both his professional and educational work. Solano is a certified mixer with Universal Music Group and Warner Music Group, and AlexProMix has quickly become the go-to Atmos mixing company for various record labels, including Atlantic Records, Photo Finish, CINQ Music and M.A.D Solutions.

When Solano is not mixing, he is filming and educating aspiring audio professionals. From online mixing and mastering webinars to courses and masterclasses, Solano aims to share his passion for audio technology and inspire up-and-coming self-taught producers and mixers.

Welcome to issue 7 of Audio Media International

Top Ten Spatial Audio Music Albums

Photos: Brynne Hosea

The post Dolby Atmos Studio Profile: AlexProMix Studio Kitted Out for Immersive Mixing appeared first on Audio Media International.

In professional audio, there is little doubt that the Dolby Atmos immersive audio format is here to stay, and with that in mind, Business partners Brandon Knights, Allan Sayers and TD Simon Ryder, with help and support from the team at HHB have built a new recording, mixing, mastering and Dolby Atmos certified facility close to Gatwick Airport, conveniently situated between London and Brighton. The first room at the new Gatwick Production Studios called Treehouse not only meets the very strict Dolby Atmos specifications but surpasses them. In part, thanks to its acoustic design philosophies but also thanks to its amazing sounding and stunning looking Genelec 9.1.4 speaker array in its custom white finish. “Obviously, there are many monitor speakers out there,” says Technical Director Simon, “but as we were not just retrofitting a space for Atmos, we were building our new immersive studio from the ground up, we looked at the ideal room dimensions to fit the very strict Dolby specs, and we had to hit both the Dolby SPL and frequency response targets. A personal target for us was for there to be no bass management used to stop any low-frequency phase anomalies below 80Hz, and the only speakers that fit these requirements without being physically enormous were Genelec.”

The specific speakers used at Treehouse are Genelec 8351 for the front five speakers and 8350’s are used for sides, rears and height speakers. There is an amazing 3×12 inch 7382 subwoofer, which was custom painted by Genelec to match the rest of the speakers and makes it the first white subwoofer of this type in a professional installation. There are also two W371A SAM woofer stands which are used to provide a full-range monitoring system for stereo mixing and mastering.

Treehouse is based around a rack-mounted Apple Mac Pro running Avid Pro Tools Ultimate with an HDX2. Audio I/O and routing is taken care of by an Avid MTRX, which is in turn controlled by a DAD MOM desktop controller. The MTRX features Dante connectivity, which not only allows for easy and inexpensive routing of audio to other rooms within the new facility, but also allows for massive expandability for future studio requirements, such as a newly planned recording space with the ability to record orchestras or other large ensembles.

The system is controlled by three Avid S1 eight fader controllers, and an Avid Dock. All have touch control from the latest Apple iPads.

“The team at HHB recommended the Avid S1,” says Brandon, Managing Director of Gatwick Production Studios, “We needed some kind of control surface that was scalable, had a smaller form factor but would be instantly recognisable and useable for any outside engineers visiting the studio and the S1 and Avid Dock have the operational links to the bigger S4 and S6 control surfaces. Also, when all is said and done, the S1 just works and integrates perfectly with Pro Tools alongside the Dock.

Dolby Atmos duties are taken care of by a Dante-equipped Dolby RMU, in this case, based around an Apple Mac Mini in a Sonnet chassis with a Focusrite Rednet Dante card interfacing it with the Avid MTRX.

Simon and Brandon took a very real-life approach to their studio design and functionality as Gatwick Production Studios included the ability not only to monitor content in stereo or Dolby Atmos but also in more conventional consumer formats via a JBL SDP-55 AV processor & Apple TV as they realise that this is how much of the studio’s output will be consumed. They also have a space with a Sennheiser Ambeo Soundbar for Atmos reference monitoring. “It’s important to be able to check your work away from the studio,” says Brandon, “so we have the Apple TV and Soundbar set up so you can grab a coffee, relax and check your mix in a more real space.”

The team from HHB were not only on hand to advise on, supply and install the studio equipment but they also consulted with both Simon and Brandon about the best ways to future-proof and optimise the gear they eventually chose for the new facility.

HHB’s John Johnson, who oversaw the project said, “It was a pleasure to work on such a fun project and on a site with so much potential – effectively a blank canvas. Brandon’s vision for the studios, combined with Simon’s technical expertise, allowed us to design the room to fit Dolby’s optimum speaker positions and specify the Genelec SAM speakers to deliver a really impressive mix environment. It’s incredible how well-controlled the room is, with custom acoustic panels which also look phenomenal thanks to Brandon’s artistic graft. The whole studio complex is underpinned by a network infrastructure which relies on Dante for most of the audio routing, allowing for so many options of sharing audio across the facility.”

Training was an all-important part of the studio creation experience, and while neither Simon nor Brandon, with around 50 years of professional mixing experience between them, needed any help with the fundamentals of audio mixing, HHB were able to supply both Avid’s Dolby Atmos training as well as HHB’s own Dolby Atmos training designed specifically to the cater for the need of Gatwick Production Studios and their new rig.

Simon – “Myself and two of our in-house engineers took the Avid Dolby Atmos training, and I believe we are now numbers 7, 8 and 9 on the Avid certification list of Atmos engineers in the UK. The HHB team were also able to help create routings when it came to monitoring consumer formats such as Apple’s Spatial Audio format, offering a more efficient workflow than just copying the files to a phone or iPad for great mix checking.”

Brandon, Allan and Simon have some amazing plans for the studios, and unlike many with grand plans, they also have the space in their current building to expand and build a creative and technical hub with the amazing transport and communication links of Gatwick Airport that is brilliantly designed and kitted out as well as being physically well connected both nationally and internationally.

Welcome to issue 7 of Audio Media International

The post Dolby Atmos Studio Profile – Gatwick Production Studio appeared first on Audio Media International.

We speak to Kristian “Kohle” Bonifer, Founder of Kohlekeller Studio, Germany about the set up of his studio – specialists in recording metal bands – and his other projects.

How long have you been running and why was your space set up?

I started Kohlekeller Studio in 1999 in the same building where it still is today. I basically turned the sleeping room of my house into a control room back then. I had two Alesis ADATs and a Tascam 24 channel analog mixing console which was the perfect setup to start recording a bunch of local metal bands. From there on the studio grew over time and more and more rooms of the house were turned into either control or live rooms. In 2010 we added another building with our big live room. Today the studio consists of two main control rooms, an editing suite, a vocal booth and the live room.

Who helped you build, tune or upgrade your space?

The live room was designed by Thomas Jouanjean from Northward Acoustics who has designed a bunch of very famous mastering studios (like Sterling Sound Nashville) and has a very interesting concept with no high frequency absorption at all. The main control room has a DIY acoustic concept and was improved over the years and sounds great. The second control room was designed by Fritz Fey, a well-known German studio designer who is also the founder of the German “Studio Magazin“.

What artists, presenters or other creators pass through your doors?

We mainly do heavy guitar music here at Kohlekeller. Recording, producing, mixing and Mastering. This covers a wide variety of styles. Power Metal bands like “Powerwolf” over Modern Metal bands like “Electric Callboy” up to very extreme Death Metal with bands like “Aborted” have come to Kohlekeller over the years.

What’s your USP as a studio based on feedback from artists and completed sessions?

It’s about being passionate. I think it is how we treat our clients and how much we care about the product! I’m sure you wouldn’t find many bands we have worked with in 20+ years that would say we didn’t give everything to make the recording, mixing or master as good as we possibly could.

Who’s on the team?

It’s me (Kristian Kohle) and my two colleagues Kai Stahlenberg and Daniel Claar. We do all kinds of jobs here – from editing drums to mixing and mastering.

Studios have experienced massive change in the last few years and there are many different types – where do you fit in?

It’s the same for us. We hardly do full productions anymore like we did back in the day. Bands mostly come here to record drums, mix / master their records or because they want my creative input as a producer. Typically we start with recording the drums here and continue with re-amping the (home-recorded) guitar and bass DI tracks later before doing the final mix.

How would you describe the overall vibe of the studio and what’s the balance between creating a great sound vs a great vibe – can they exist hand in hand without compromise?

These days the vibe has become more and more important. Great sounding rooms and fancy gear are still crucial for great sounding productions, but home recording has come a long way. That means that studios need to find additional reasons to convince clients to book them. A great vibe and a creative atmosphere really help here! Artists will only book your studio if they believe they can perform better compared to any other place out there. Kohlekeller Studio sits in a beautiful landscape, offers daylight and a very cozy atmosphere. Many bands tell us that it feels like coming home. And we’re also working hard to not only offer great sound but also our creative input and ideas. That’s the other reason so many artists want to work here.

How do you feel about remote collaboration in your studio with apps such as Audiomovers, do you embrace it or does it change the magic in the room?

We work together with a lot of other studios these days but haven’t used any of those apps yet. This is something we still have to check out.

Can you share a list of the gear you have and the room types and dimensions?

We do have a nice combination of analog and digital gear in all control rooms. Outboard from API, Cranborne, Chandler, Crane Song, Heritage and many others. We also have a pretty big mic collection of mics from Neumann, AKG, Austrian, Gefell, sE Electronics including many ribbon and dynamic mics especially for recording guitars.  We work with Steinberg’s Cubase and use SSL MX4 audio interfaces. We mainly use monitors from Eve Audio and Amphion.

We also have a large collection of drums, cymbals and guitar tube amps and cabinets. We strongly believe that it’s more important to get things right at the source, so for example, we have always preferred to invest in good cymbals instead of a good EQ to fix it later. Many guitarists and drummers like to work here because they know they have a big collection of great instruments and gear to choose from and this is is more important to them than the studio gear.

Can artists stay at your studio and if so what’s the set up?

Yes. We have a little apartment where musicians can live during the production. It includes everything they need. Feels like home!

Talk us through your rooms and why they are designed in the way they are.

Since the rooms are a part of a normal house and they weren’t built as a music studio we had to deal with the dimensions that we’ve got. We worked hard on making all rooms sound as linear as possible in the low end, but from what our clients tell us all rooms have a great translation to the real world. The only room that was designed from scratch is our live room. It was designed with drums in mind. We avoided any high frequency absorption to give it an open and aggressive sound that is great for rock and metal drums. Thomas mainly used angled walls, diffusion and some bass traps to get that kind of sound. Drummers love to hit their drums hard in that room!

What’s your dream recording project or client?

My dream would be to travel back in time to witness how rock and metal was produced back in the 70s, 80s and early 90s. I believe we can learn a lot from those days before the digital revolution.

Do you have any other projects going on?

Oh yes! I have just launched my own recording, mixing and mastering academy called Kohle Audio Kult! I’m doing this together with Warren Huart from Produce like a Pro and this is the Heavy Metal version of it. It’s not only me teaching as part of the Kult – there are many other world-class producers (like Jens Bogren, Erin Hamidovic or Bob Marlette) there too. So if you wanna learn how to produce heavy music people should check out: kohleaudiokult.com

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Windmill Lane Dublin, Ireland has unveiled major upgrades to its world class multi-room audio facility, including the installation of Dolby Atmos – the revolutionary spatial audio technology providing the most immersive sound experience. The new studios, featuring Avid and Genelec equipment installed by Big Bear, ensure Windmill Lane will continue to operate at the highest standard of post-production.

Trading since 1978 in Ireland – Windmill Lane encompasses a number of creative production entities including Commercials, Film, TV, VFX and Animation. New consoles have been integrated into two state-of-the-art mixing rooms designed to support Windmill Lanes audio post-production services. Studio 1 is fitted with a new Genelec speaker system for Dolby Atmos immersive mixing.

Mick Creedon – Head of Audio at Windmill Lane – spoke of his delight with this investment & upgrade:

“We have just completed a full re-fit of all 5 surround studios. We look forward to immersing ourselves in all things ‘Dolby Atmos’. We have also fitted out all our voice booths & studios with cameras for the increased demands on our ADR work from all corners of the world. We have a busy run to the end of 2022 with the return of Smother and series 2 of KIN, alongside a busy slate of documentaries and a beautiful animation project for Disney.”

“We have a couple of new faces in Audio too. Tom Morris joins us from a seven year run of TV commercials in New York and Michelle McCormac brings a wealth of experience to Windmill in dialogue and FX editing! So we look forward to the year-end and into 2023 and beyond with our upgraded studios!”

Having recently gone to press discussing Windmill Lanes global ambition in VFX CEO Dave Quinn felt it imperative to invest in-house and is excited about what this investment means for the business moving forward.

“We are accelerating investment in innovation to deliver new gains in artistry and output for creators across all our key sectors; VFX, Film, TV, Animation and Commercials. As leaders in the Irish market we aim to heighten artistic potential, empower our staff and enhance their productivity. This will mean better results for our clients.”

Michael Browne, Managing Director of Big Bear Sound, explained what this installation means for Windmill Lane. Having built his own recording studio over 10 years ago Michael is fascinated by the latest advancements in sound technology and has established Big Bear as one of Ireland’s leading professional audio services company.

“The modern obsession with content means Windmill Lane have to be kitted to the highest level if they wish to compete globally. This Avid equipment will improve speed, efficiency, workflow and delivery for the business” says Michael.

“We have created a compatibility across all Windmill Lane studios so an engineer can move from one studio to another and work with the same equipment. You’ve now got a Dolby Atmos, Genelec monitoring system in Studio 1, 11 speakers and a sub-woofer. It’s a far more immersive experience. Plug ins are the same across all studios so the workflow is essentially the same.”

Windmill Lane have developed an impressive slate of new and growing business with clients globally such as HBO, Netflix, AMC, Sky, BBC, Paramount and more. With a mission statement of ‘Making Great Stories’ it’s crucial that the business works with technology that is cutting edge, innovative and collaborative. Luckily Avid’s mission is to ‘empower media creators with innovative technology solutions to entertain, inform, educate and enlighten the world’ which means their desire to empower creators fits in with Windmill Lane’s long-term objectives.

Francois Quereuil, Avid’s VP of Audio Product Management put aside some time to discuss this partnership.

“It’s long been Avid’s privilege to support such an iconic brand as Windmill Lane by providing the essential tools used on their outstanding creative work for marquee clientele across film and TV. Their recent technical upgrades and innovations set the stage for increasingly powerful and dynamic storytelling—and we’re thrilled to be a part of this exciting future.”

Tom Morris, Sound Editor, explained how this investment will impact his day-to-day.

“Our new Dolby Atmos mixing studio brings state of the art surround sound capabilities to Windmill. The comprehensive 12 speaker setup creates height and depth, delivering a truly immersive, three-dimensional mix”.

Mark Henry – Senior Mixer – also offered some insight;

“We’re already feeling the benefits of our new system while we complete mixing on Smother Season 3 for RTE and BBC. Workflows have been streamlined allowing us more time to get creative in the mix. Exporting of files for remote approval has never been quicker and easier which is so helpful post Covid as we’re all adjusting to newer and more efficient ways of working.”

“We’re really excited about starting Season 2 of Kin for RTE and AMC shortly.”

“Our newly upgraded ADR/VO booths with dedicated lipstick cams and Zoom feeds for the talent make it easier to run remote sessions and we’ve already ran ADR and animation record sessions for an impressive roster of clients including HBO, Netflix and Paramount.”

Studio Profile: Black Rock Studios, Santorini

Studio Profile: Grouse Lodge, County Westmeath, Ireland

Studio Profile: Real World Studios, Bath

Studio Profile: The Outlier Inn

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As part of our Studio Profile series we spoke to Kostas Kalimeris, Black Rock Studios, Santorini

How long have you been running and why was your space set up?

We started running the studio in June of 2009. Black Rock Studios was my dream to put Greece on the map of international recording studios. Our space was setup to accommodate artists/bands who are keen to hideaway, and find inspiration in our studio environment and the landscape of Santorini.

Who helped you build, tune or upgrade your space?

The studio was designed by Roger D’Arcy of Recording architecture and built by Bogdan Valceanov.

Architects Voula Gogorosi and Alexandros Gavriilakis helped with the interior design and building renovation.

What artists, presenters or other creators pass through your doors?

Our client roster includes, One Republic, Justin Bieber, Joe Bonammassa, Skrillex, Bjork, Bring Me the Horizon, Youmeatsix, Rita Wilson, Sarah Connor, Sido, to name a few.

What’s your USP as a studio based on feedback from artists and completed sessions?

The studio offers a unique vibe and that is always part of the music that comes out of it. It’s a unique sounding place, and somewhere to come and record something special.

Who’s on the team (you can introduce everyone while the drum solo goes on)…

Besides me, the team running Black Rock Studios are the assistant sound engineer, the housekeeper and the pool guy.

Studios have experienced massive change in the last few years and there’s many different types – where do you fit in?

This is so true and I had to find a way to build a studio concept that can last. The domestic music market is small and labels are rarely keen to rent big studios for production. Also there is a huge increase of home studios owned by producers or artists, so professional sound people can only get mixing jobs.

My aim was to create a new recording destination for international clients, targeting big markets like the USA, UK and Germany. Somewhere for artists looking to be inspired and bands looking to spend a month together recording in a nice setup.

How would you describe the overall vibe of the studio and what’s the balance between creating a great sound vs a great vibe – can they exist hand in hand without compromise?

The recording studio is attached to a luxury villa with views of the Mediterranean sea and Santorini Volcano and offers a state of the art creative space. I think we achieved the perfect balance of vibe and great sound. We also spent a lot of time designing the right balance between a hi-tech setup and our traditional buildings.

Recreation areas like the large outdoor infinity pool provide relaxation time between recording sessions. The peaceful setting means you can even record outdoors with an amazing view.

How do you feel about remote collaboration in your studio with apps such as Audiomovers, do you embrace it or does it change the magic in the room?

A need for remote collaboration is rare, but I’m always excited to host remote sessions. Our sessions always include video which I think helps maintain the same vibe between the two studios.

Can you share a list of the gear you have and the room types and dimensions?

Console

Solid State Logic 9080 J series with Ultimation and Total recall

Digital Recorders

Pro Tools HDX

Digidesign 192 I/0 X 4 (32 in – 64 out)

Apple Mac Pro  32 GB RAM

Monitoring

Main : Genelec 1035B

Near field : KRK VXT 6, Yamaha NS10, 6 x Genelec 8040, 6 x Genelec 8050

Furman HDS 16 Headphone Monitor System

Furman HRM 16 remote mixers (4)

Headphones

AKG K271 MkII

SONY MDR 7509

SONY MDR 7506

Audio Technica ATH-M50x

Pre Amps / EQs

Neve 1081 classic (4 modules) Mic pre/Eq

Neve 1073 (8 modules) upon request

Chandler TG2 –Abbey Road edition

GML 8200

Dynamics

Manley ELOP

ADL Stereo tube CL 1500

Chandler TG1 –Abbey Road edition

Focusrite Red 3

Distressor EL8X w/brit mode (2)

FX Processors

Lexicon 960L

Eventide Orville

Microphones

AKG C-12VR, AKG D112, Cascade Fathead II (2), DPA 4006 , Electro-Voice RE-20 (1), Microtech Geffel 711(2), Neumann U87(2) , Royer R-121(2), Sennheiser MD421(3), Shure SM57(4), Shure SM58 (3), Neumann KM 184(2), AKG C 451 (3) Shure SM7B

Our Control room is 40 square metres and the Live room is 30 square metres with a 5.5 metre high arch-shaped ceiling. Booth 1 is 15 square metres and Booth 2 is 10 square metres.

The studio is designed so that you can clearly see all of the separate areas through soundproof windows and glass doors.

Can artists stay at your studio and if so what’s the set up?

Black Rock is a 400 square metre 3-storey villa, built on a cliff area of 7.000 square metres with a 360º view of the ocean.

All five guest rooms have en-suite bathrooms. All bedrooms are bright, airy and have fantastic views. Outside areas include, dining areas, jacuzzi and a large infinity pool.

Talk us through your rooms and why they are designed in the way they are

The control room is designed to host as many people as you need for modern productions, with acoustic treatment able to host a big speaker system such as Genelec’s 1035B.

The live room offers a unique room sound for drum recording because of the high arch-shaped ceiling.

The first booth is mostly used for vocals so artists enjoy the pool and ocean view when cutting vocals, while the second booth is used as an amp or production room.

What’s your dream recording project or client?

If The Rolling Stones or Mick Jagger are going to record any new stuff then that would be my dream band to have at the studio!

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Set in stunning rural surroundings near the city of Bath in South West England, Real World Studios is a unique residential recording facility where artists, producers and engineers can escape their daily distractions and focus solely on making music. As part of our Studio Profile series, we spoke to Tim Oliver, Senior Consulting Engineer…

How long have you been running and why was your space set up?

Real World was opened in 1987 as the vision of Peter Gabriel’s perfect recording environment. Focused solely on making musicians feel as comfortable as possible for creative freedom, it flew in the face of conventional studio design at the time: Performers, producers and engineers all in the same room with plenty of natural daylight.

What artists, presenters or other creators pass through your doors?

Over the years our client list has included A-Ha, Amy Winehouse, Beyoncé, Happy Mondays, Manic Street Preachers, The Coral, Van Morrison and more. Harry Styles, Foals and The 1975 have recorded albums here in the last year.

What’s your USP as a studio based on feedback from artists and completed sessions?

The studio is in a very inspiring rural setting with green countryside, rivers, streams and wildlife on the doorstep. Being a residential studio the musicians are together 24 hours a day which brings the creative energies together. Everything is taken care of so the musicians can focus just on their playing.  

Who’s on the team?

Head Engineer: Katie May

House Engineers: Dom Shaw, Bob Mackenzie

Associate engineers: Oli Jacobs, Patrick Phillips

Tech manager: Bob Leadbeater

Studio Coordinator: Lisa Murton

Senior Consulting Engineer: Tim Oliver

Studios have experienced massive change in the last few years and there’s many different types – where do you fit in?

As one of the few remaining residential studios and with a global renown, we manage to keep our heads above the very choppy waters.

How would you describe the overall vibe of the studio and what’s the balance between creating a great sound vs a great vibe – can they exist hand in hand without compromise?

Real World is a very laid back and relaxed place because we believe that’s necessary for the creative process. You can’t make great music without a great vibe. Under the surface the legs are paddling hard to keep that going.

How do you feel about remote collaboration in your studio with apps such as Audiomovers, do you embrace it or does it change the magic in the room?

We use Audiomovers a lot but only as a last resort when musicians can’t be here in person. Two completely different beasts.

Can artists stay at your studio and if so what’s the set up?

Yes – the studio is fully residential and includes 8 rooms, many with en suite bathrooms. We’ve also got an in-house French chef and a wonderful housekeeper who makes everyone feel at home. Bath is a 15 minute drive away and Bristol, with its vibrant music scene, is 45 minutes away by car. The stunning countryside around Real World is criss-crossed by public footpaths linking local villages. Walk up the river path from the studio, and four hours later you’ll reach Castle Combe, a quintessential Cotswold village that’s been the filming location for countless period dramas.

Talk us through your rooms and why they are designed in the way they are:

Big Room: A vast space designed to house band, producer and engineers for ease of communication. Huge windows looking out onto the mill pond and gardens for inspiration.

Wood Room: Tied to the Big Room for a more conventional recording area, it also stands alone with its own recording rig. The triple height ceiling and uneven stone and wood surfaces creates a sublime rich acoustic.

Red Room: Atmos mixing room, also set up as a writing and production room

Dream recording project or client?

Most of my dreams have become reality here, those that didn’t won’t happen now: David Bowie, Prince, Sly Stone.

Photo credit: York Tillyer

Studio Profile: Grouse Lodge, County Westmeath, Ireland

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We talk to Grouse Lodge Studios located near the picturesque village of Rosemount in County Westmeath, Ireland.

How long have you been running and why was your space set up?

Set on a 300-year-old farmstead in the middle of Ireland, Grouse Lodge Recording Studios opened in 2002. It was designed to fill the much needed requirement for a world-class residential recording studio, of which there were previously none in Ireland. Before Grouse Lodge opened its doors, there was no recording studio of its kind in Ireland.

Who helped you build, tune or upgrade your space?

Owner and co-founder Paddy Dunning sought the expertise of renowned acoustician Andy Munroe and his team to design the studio. They utilised some of the existing structures on the farm, while also extending it with purpose-built rooms. This has made for a blend of ancient stone walls along with surfaces made from modern materials – a blend of old and new.

What artists, presenters or other creators pass through your doors?

Many well-known artists and producers have crossed the threshold at Grouse Lodge and have recorded some fabulous and best-selling number 1 albums here. Some artists include: Snow Patrol, REM, Bonnie Rait, Will-i-am, Westlife, Little Simz, Tom Jones, Dame Shirley Bassey, and Oscar-winning artist Glen Hansard, to name but only a few!

More recent artists who have worked here include Dermot Kennedy, Paolo Nutini, Sinéad O’Connor, and Sam Fender, who recorded his critically-acclaimed album ‘Seventeen Going Under’ here.

Producers who have worked here include InFlo, William Orbit, Jacknife Lee, Ryan Hewitt, Ethan Johns, Rodney “Darkchild” Jerkins, Ken Nelson Mike Crossey, Rich Costey, and ten time Grammy winning producer Joe Chiccarelli.

We’ve had clients work on movie projects here, for films ranging from Spider Man, to Oscar-nominated Irish animation Wolfwakers. We have facilitated orchestras, classical ensembles and Irish traditional music recording sessions.

What’s your USP as a studio based on feedback from artists and completed sessions?

Grouse Lodge is in the middle of the Irish countryside, and is only just over 1 hour from Dublin airport. On top of the world-class recording studio, we have a spa, which includes a jacuzzi, sauna, and swimming pool. A gym is available for use on site. If clients are looking for activities, we offer horse riding, table tennis, nature walks, archery and more. We have a cinema room with a projector for watching TV and movies.

Last but not least we have an on-site bar with Guinness and Carlsberg taps. The Guinness has been confirmed as one of the best pints of Guinness in the world by members of the Guinness family who live nearby!

Claire, our chef, is passionate about making meals with locally sourced and organic ingredients. When she’s not in the kitchen, you can usually find her in her veggie garden, digging up potatoes, planting seedlings, and trussing tomato plants. Her “field to fork” ethos is seen on the dining room table – the salad greens are usually grown metres away from the table (along with the odd caterpillar!), and the eggs at breakfast are laid by the chickens who roam the yard. What can’t be grown on site, is usually organic and locally sourced.

We pride ourselves in the atmosphere and the vibe that we can cultivate here. It’s conducive to creativity, and helps artists to relax and perform at their best. Spiritual gurus have even confirmed that the recording studio is situated on several lay lines and positive energy lanes!

Who’s on the team?

Paddy and Claire Dunning who found the facility in 1999 and refurbished the 300 year old estate to high standards.

Paddy runs several other companies such as The National Wax Museum, The Button Factory music venue, Sun Studios in Dublin and is currently working on an amazing new project called The Giant which will be coming to 22 major cities around the world in the next year or so.

Alex Borwick is our head engineer. Originally from New Zealand, Alex is a producer and multi-instrumentalist. He has been a musician his entire life, playing in a variety of genres and touring the world in various bands, which lends a strong sense of musicality in his studio work. Alex fell in love with music production and engineering after relocating to Ireland, and hasn’t looked back since. He has worked with artists such as George Clinton (Parliament Funkadelic), Sam Fender, Ellie Goulding, Catfish & The Bottlemen, James Vincent McMorrow, and Martin Hayes. Alex produced and recorded the critically-acclaimed debut album ‘Hemet’ by artist Niamh Regan, which was nominated for ‘Best Album’ at the RTÉ Folk Awards and ‘Album Of The Year’ at the RTÉ Choice Music Prize.

Our other engineer is Thomas Donoghue, who has a blossoming career in live sound. Thomas is the front of house engineer for Villagers, and has worked with other Irish artists such as The Coronas, Gavin James, and The Academic.

Eavan Crowe is our studio manager who coordinates all the recording sessions. Having studied sound engineering and completed a music management and production degree she has been with us for the past 17 years or so and continues to love working in Grouse and the music industry!

Hospitality heads include AnneMarie who’s been with us a long time also, she runs a tight ship and enjoys the banter with the bands! We also have Maxine who maintains the high standards which Grouse Lodge has become known for. Their down to earth approach makes the bands feel at home and at ease from first arrival.

Bernard is our grounds manager which is a non stop job keeping up with the maintenance of the entire complex.

Studios have experienced massive change in the last few years and there’s many different types – where do you fit in?

We facilitate an environment for clients who want to escape modern life and immerse themselves in nature alongside modern music technology. As recording technology develops at breakneck speed, allowing people to do more with less, we have curated an environment to help artists “un-plug” and immerse themselves in inspirational surroundings, to help them focus on their creativity.

We provide an alternative to city-based recording studios, where people are often crammed into small spaces with limited daylight. The expansive grounds at Grouse Lodge means that people can go for a stroll when they’re not needed in the studio, or if they need time to focus on their art without the distractions usually found in large, cosmopolitan cities.

Due to the size of the grounds, we have several extra rooms that can be set up as writing/production spaces, which means that there can be multiple teams working uninterrupted simultaneously. We’ve had sessions where bands have been rotating between three different recording rigs daily! The size of the main live room also allows for tour rehearsals and pre-production for artists who are about to go on the road, with space for the whole crew.

How would you describe the overall vibe of the studio and what’s the balance between creating a great sound vs a great vibe – can they exist hand in hand without compromise?

Yes, they can absolutely exist hand in hand. Bands are always surprised by the amount of work they get done here, while being able to relax and enjoy the surroundings. They’re usually ahead of schedule before they leave! Bands leave rejuvenated.

Andy Munro’s acoustic treatment has allowed us to keep the rooms large and open, while still controllable as a recording environment. A day’s work at Grouse Lodge never feels difficult or tedious!

The natural daylight throughout the studio offers an environment conducive to productivity. The studio is full of good quality lighting, Moroccan rugs and comfortable seating, which all contributes to the ambience. Musicians can be watching cows and sheep walk by the window while they’re recording! The other animals on the grounds such as chickens, ducks, dogs, and cats add to the vibe.

How do you feel about remote collaboration in your studio with apps such as Audiomovers, do you embrace it or does it change the magic in the room?

We fully embrace it – it’s opened up the doors for international collaboration! For example, it allows us to have a team in recording a movie soundtrack, while the director sitting in LA listens to a high-quality uncompressed audio stream, and the composer could be listening in from Paris. We’ve had writing camps here where teams can be working on a song together, with input from writers and top-liners in other parts of the world.

The recording industry was already embracing and utilising remote collaboration, however the Covid-19 pandemic has fast-tracked this way of working even more, to the point where it’s become commonplace to run a session with contributors sitting anywhere in the world. When artists are at Grouse Lodge they can be collaborating with members of the team who are currently in other parts of the world.

Having said all this, it can take a bit more work to get a vibe going when people are trying to be creative remotely. Nothing beats being in the same room!

Can you share a list of the gear you have and the room types and dimensions?

 The main studio is purpose built integrating the existing 275 year old stone structure and features a huge control room (900sq.ft) with lots of natural daylight and two large live rooms with superb acoustics. The extensive use of local cut stone gives the space a unique feel and sound. Studio One features a giant Neve VR60 mixing console with flying faders, and its large live room, booths and control room has been host to A-list of international and Irish acts over the years.

• Live room 35ft x 32ft
• Stone room 25.5ft x 13.5ft
• Control room 28ft x 28ft

Full Equipment List:

Can artists stay at your studio and if so what’s the set up?

Grouse Lodge is famous for its Irish welcome, and our staff aim to give artists the best experience, and to make them feel completely at home.

It’s practically a requirement that artists stay with us! We have an array of 9 bedrooms plus extra beds, spread out over the farm, so that artists can live and breathe their project while they’re here recording with us. You can have a dip in the pool first thing in the morning, before taking a shower and then having a cooked breakfast from Claire in the dining room. Claire puts food on the table three times a day while you’re here, so no one ever goes hungry, and no one ever has to think about running down to the shop to get sandwiches for lunch. Besides, you’d have a hard time getting Deliveroo to deliver out this far!

Talk us through your rooms and why they are designed in the way they are.

The bedrooms are all individually designed. Our hospitality manager Anne Marie is very attentive to cleanliness and our beds have top quality 5 star linen to ensure that artists get a deep sleep when they’re here. There’s no traffic nearby so people wake up naturally to the sound of silence in the Irish countryside.

The control room alone is larger than most small recording studios. This gives artists a room to spread out and make the studio their own while they’re working here. The sheer amount of windows are designed to let in as much light as possible, so you always know what time of day it is and what the weather’s doing, even while doing the most tedious drum editing!

The main live room is the size of a small church, and drums sound incredible in it. It’s large enough to fit a medium sized orchestra. We have a vocal booth attached to this, as well as a second live room, called the stone room. The stone room is one of the original barns on the farm, and as you’ve guessed the walls are made of stone! This means that it has a very different acoustic to the main live room, giving an option for different sounds.

Muse even used the pool to get a good sounds and made the poor drummer play in the pool

What’s your dream recording project or client?

For us, Grouse Lodge comes into its element when hosting multi-faceted projects. We love when the facilities are being utilised to their full extent, with teams working on different elements of the project simultaneously, spread over the complex. We’re also looking forward to hosting more writing and music camps.

Paddy says: “I once had a dream to record Johnny Cash and a month later his daughter Roseanne Cash arrived at the studio”.

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