—– VIDEO KANVA GUIDE —–

Of course, studios are always created within certain limits. But if we ignore the minor architectural and design restrictions inherent in any project, then in everything else I was free: in design, in the use of the latest technologies, in choosing a team, in innovation, design and much more. I also wanted to reconsider some existing stereotypes.

The future studio was located on Podol in Kyiv, on the third floor of a new monolithic frame house. The building’s design gave us flexibility in the interior layout. The total area of ​​the complex, including office space and reception, was approximately 140 sq.m., and the ceiling height was 340 cm. The room had access to a large terrace overlooking Kyiv Vozdvizhenka. There was also a separate exit to the balcony from the control room. The rooms had huge windows 3 meters high, almost from the floor.

What we planned to build can hardly be called just a studio. Most likely, it should have been some kind of creative laboratory and, possibly, a production agency.

The studio was supposed to specialize in modern – mainly electronic – music. This means that the control room must be spacious, and the monitor system must be capable of reproducing the lowest frequencies of sub-bass parts. The acoustic treatment of the room and its geometry had to provide acoustic control down to these frequencies.

In addition to the control room, a vocal room was also planned. This was enough to solve creative problems. In addition, it was necessary to provide for the possibility of uncompromising vocal recording directly in the control room.

Thus, we agreed that out of the total area of ​​the room, about 50 sq.m. were allocated to the control room, and about 15 sq.m. to the vocal room. It was also necessary to preserve the existing windows as much as possible.

Before the design began, we decided on monitors. The customer already had Focal Trio 11 near/mid-field monitors. And the far-field system was a selected stereo pair of Reflexion Arts 239X monitors. The design and configuration of this system took place simultaneously with the construction of the front wall.

A month and a half later, the project was ready.

First of all, it was necessary to think about sound insulation, because this was a residential building. For this purpose, “floating” partitions were used and, with the permission of the civil engineers, a multi-layer “floating” floor weighing about 8 tons and about 18 cm thick.

During the construction of the acoustic shell, specific parts were required using a CNC machine. This is how we met Alexander Kozachenko, who was not only an operator of such a machine, but also an interior designer. Together with our designer Maria Isaenko, they offered very interesting creative ideas.

The front wall contained 15 layers of different materials, and its front part was composed of numbered plywood blanks. The main monitor system was part of this wall, and the bezels were painted in its color. The large studio window did not look out into the vocal room, as is often the case, but outward, with a view of Vozdvizhenka.

In the first half of the day, the front wall was on the sunny side of the building and the window became very hot, as a result of which the inner glass fogged up, and it was not water vapor, but something similar to perspiration with fatty deposits. We tried a variety of ideas, and each time it was necessary to remove the internal inclined glass weighing about 200 kilograms.

As a result, it was decided to make a certain compromise and make a slotted ventilation gap between the glass and the window frame. The remote-controlled roller blind inside the window also helped partly, especially when working before lunch.

Sloped ceiling traps were designed to combat flutter rather than low frequency absorption. In addition, measurements and practical experience in constructing similar rooms pointed out to us their lack of efficiency given the relatively high costs of their manufacture and hanging.

The back wall traditionally consisted of low-frequency traps and was designed to leave room for an exit to the balcony.

The window sills on the side walls were deep enough to turn them into cozy armchairs.

The studio table is a different story. The availability of a CNC machine provoked the desire to make something unique, different, different. The wishes were as follows:

- impact on acoustics and monitoring conditions is minimal;

- material – natural solid ash (not chipboard or MDF) 40 and 20 mm thick;

- cables, power supplies (18 pcs.) and other switching are hidden;

- fasteners – be hidden;

- SSL controllers – must be located on a separate movable section of the tabletop, and when moving it should not touch the computer keyboard and the skin of the armrests;

- equipment must be ventilated, etc.

3-D modeling in Fusion 360 helped in solving these problems.

—– STUDIO TABLE MOVEMENT —–

The table turned out to be comfortable, ergonomic, beautiful, although not cheap.

Finally…

The floor covering is made of wear-resistant vinyl.

Climate control – an autonomous ventilation system plus an almost silent Mitsubishi ducted air conditioner, controlled via Wi-Fi.

The video monitor is panoramic with a swivel mount to the studio table.

Video projector. The back wall is a retractable screen with PU.

Retractable system for the movable section of the tabletop – GRASS Movement Systems.

Studio microphone and keyboard stands are available upon request.

And most importantly…

This work gave us all pleasure, and the monitoring, acoustic features of the studio and its design pleasantly surprised many of my colleagues, even from European countries.

—– VIDEO KANVA GUIDE —–

What do you wish for the studio? The same as for all of us: victory and peace.

Glory to Ukraine!  Слава Україні!

The studio was built very quickly, because there was constantly one of our engineers during the construction.

Almost six months has passed. During this time more than 180 people were recorded! No one expected that the studio would become so popular!

And recently we’ve received such a letter.

Our research team is engaged in the study of Kazakh speech, so it was extremely important for us to have our own room or a recording booth in which it will be possible to continuously collect high-quality acoustic data. I think that we were incredibly lucky with the company Sound Consulting, which made such small and remote project as ours. And we are very happy that instead of a small cabin, we got a full-fledged sound recording studio! The studio is excellent, exceeding all our expectations for noise insulation and technical equipment. We were convinced in this once again, when we started recording, although at that time noisy construction and installation works were carried out in the university building. The recording quality is flawless! Since the completion of the studio we have already recorded more than 170 people, including professional actors, announcers and leading local TV channels. I note that it’s a pleasure to work in such a studio!

Separately, I would like to thank Alexander Kravchenko for his unique project and for not leaving us at the most difficult moment. I was very pleased to work with such professionals as Alexander and Valery, who really do their work.

Thank you, guys! I wish you further creative success!

Zhandos Esenbaev

Researcher

Nazarbayev University

Research and Innovation System

Astana, Kazakhstan

But the appearance of this website is not an indication of change in our position. Thus, there will not be a forum, because we do not want to spend time on discussion with the “laying on the sofa”. There will be no bragging rights and advertising of narcissism, “a grateful customer reviews”, have made a carbon copy; claim to solve all the problems and massive character. The web-site is primarily an information-oriented.

We are open to young people who share our principles and fanatically love Sound.

Briefly about our company and its priorities.

The experience of our professionals allows us to create a recording studios and sound systems of any level of complexity. We are not tied to any brands and trademarks, we are striving to realize their experience and expertise, we want to be proud of our projects – and here our desires and expectations of our customers are agree completely.

We are not looking for the number of designed studios and sound systems, because such “race” inevitably leads to a decrease in quality. We do not share our customers at the prestigious and no prestigious. But we’ll be happy to work together with competent and demanding customers, who know exactly what they want.

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”.

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.