Our specialists are living in Ukraine, so we work mainly in Central Europe and the European part of the former SU, although there are requests from the Far East, Kazakhstan and Western Europe. When it comes to designing sound systems – no problem. But the construction of recording studios assumed the repeated visits of our specialists, so at large distances transportation costs may be disproportionately large. For example, there is hardly any sense to invite us to build a vocal room in Vladivostok or in Barcelona. At the same time, the construction of a large professional studio there may be more profitable than building a vocal room, for example, in Moscow. Each case is unique in its own way.

Ceiling height in the future control room can not be less than three meters. In this case – after finishing works -resulting ceiling height can be approximately 215cm. The best choices are the premises with a ceiling height of 4-5 meters or higher.
Width of control room can be more than 450sm, depth – more than 300 cm. Location window and door openings also affects the decision. The abovementioned figures are approximate and rather minimal. They are shown without insulation, otherwise they should be more.

In Kyiv, owner of an entertainment centers have decided to make the sound system for amusement park. The essence of the attraction was that visitors pass into the van on a certain route “Jurassic Park”, and imitations of dinosaurs and other ancient animals alternately from different sides growl at them. Next to each of the animals was hidden loudspeaker, which “growl” for 8-10 seconds. Thus, the required 72 channels of sound amplification.

One of the firms-distributors to offer the customer a solution to this problem, and they said that will make the project free of charge. It’s like the customer.

As a result, in three 40U rack-stands was installed 36 2U American amplifiers, each of which had two cooling fans, and this whole system required a separate air-conditioning. The cost of each amplifier was approximately $2600, so cost of the entire system (with air conditioning and other equipment) exceeded $100000.

But there was another solution. We could use 1U amplifiers without fans Park Audio VX300, which price at that time was $250 apiece. All of them could be placed in one rack-stand, held three times less space, they would be absolutely no noise and did not require additional cooling. The cost of the system would be not more than $10000. Do you see the difference? $90000! Single-order cheaper! Besides the difference in cost, the system with amplifiers Park Audio was much better suit for the specific tasks.

Due to the fact that the employer decided to save a few thousand on project work, his wallet in the end things got easier for $90000, although only the additional air conditioning was comparable in value to the project work. So I repeat: the objectivity of our time is really valuable. And such cases are not the exception. I’ll say more: it is common practice of firms-distributors “as to leave the client without money.”

In addition to designing sound systems, we control the installation, as well as directly engaged in setting up, programming and adjustment of complex sound systems. Sound-engineer of our company Oleg NAUMENKO has great experience in large “live” concerts and tours. He is invited to the most responsible such events not only in Ukraine but also abroad. Besides above-mentioned, we also deal with acoustic measurements, providing advice on soundproofing and acoustics, etc.

We are there where you need experience, objectivity and “brains”.

Construction on a turnkey basis means that the project engineer, engineer for switching, electrical engineer, fitter, foreman, supplier and 4-6 builders are involved in construction of your studio – that is about 11-13 people. And if we add more experts on ventilation/air conditioning, security alarm, fire treatment, etc., the number could grow to 15-20 people. If the studio is built far off, all of them need somewhere to place, to ensure their living conditions, etc. It can be very expensive. At the same time, almost always the customer can find local profile specialists and builders, which will cost him much cheaper.

The designer of your studio and you are united by a common purpose: to make the studio as good as possible. Therefore, you should see him as a competent and impartial adviser. But during construction of the same studio on a turnkey basis your designer will lobby the interests of other people – profile specialists, builders, equipment vendors and others – who work with him in the same company or simply friends. And where is the interest of the customer here?

Naturally, the author of the recording studio project should have relevant experience and qualifications, otherwise the above rule doesn’t work. I must admit that nowadays it has become a problem, because many people and firms call themselves as studio designers, but is it really? In many cases it is only business, which is next to another business – selling equipment.