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A virtual press conference from Sound & Video Contractor

Archive by Howard Sherman

WSDG CREATES RUSTIC OWL CITY STUDIO FOR PLATINUM ARTIST ADAM YOUNG

src=”http://blog.svconline.com/briefingroom/wp-content/uploads/2015/03/140825-Adam-Young-Residence-Studio-Plan-and-Section-231×300.jpg” alt=”140825 Adam Young Residence Studio-Plan and Section” width=”231″ height=”300″ class=”alignnone size-medium wp-image-86531″ />Owl City Brian Bradley_2386 150Owl City Brian Bradley_2390 150Owl City ltr WSDG cofounder John Storyk_studio owner Adam Young_GCPRO founder PK Pandey  photo by Felipe Tavera  150140825 Adam Young Residence Studio-Plan and Section

OWATONNA, MN: Rapidly progressing from nascent electronica music experiments in his parents’ basement back in 2007, singer-songwriter-multi-instrumentalist Adam Young evolved from initial iTunes sales and a burgeoning Myspace site to a major deal with Republic Records in 2008, and on to Fireflies, a six-time platinum single, from his Ocean Eyes debut album (certified platinum in 2010). Increasing critical and commercial success has intensified Young’s focus on his music. To support his creativity he moved from his family home to a handsome rustic log cabin deep in the Minnesota woods, where he recently completed construction on a Walters-Storyk Design Group-WSDG, ‘dream’ studio.

“Adam Young’s manager Steve Bursky was impressed by our Jungle City Studio in NYC when he worked there a couple of years ago,” reports WSDG project manager, Joshua Morris. “When Adam decided to build a studio in his new home, Bursky suggested that he talk with us. I visited the site and met with him to get a true sense of what he was looking for. The local contractor was extremely meticulous in meeting all the requirements of our drawings. The results of our final acoustic measurements for reverberation time and Sound isolation met or exceeded all our goals. This studio is a gem.”

Owl City features a spacious (675 sq. ft.) control room outfitted with an SSL AWS console, Adam Audio S-4XV mains, twin 60” LCD monitors and an extensive collection of outboard gear. The studio was constructed with natural wood to compliment the log cabin’s interior and exterior setting. The Control Room is outfitted with a custom rolling slate-topped producer’s desk, and four mobile equipment racks to facilitate room reconfiguration to accommodate diverse session requirements. WSDG also designed an innovative, polycylindrical ceiling cloud to fine-tune the mixing position. A (225 sq. ft.) live room with a (35 sq. ft.) vocal booth supports Young’s primarily keyboard-based productions. PK Pandey, founder of GCPRO, coordinated the technology package.

Commenting on his new studio Adam Young remarked, “It was a tremendous honor and privilege working with John Storyk and WSDG PM, Joshua Morris, and systems designer, Federico Petrone. The studio they designed exceeded all my expectations. I couldn’t be happier working in the environment they created to suit every specific need I had. It looks fantastic and sounds even better, and at the end of the day I am thrilled to be the proud owner of such a fabulous studio. Endless thanks, WSDG.”

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Photos (1-3): Owl City Studio, front, rear and side perspectives. Credit photos by Brian Bradley
Photo 4: (l-t-r) WSDG co-principal John Storyk, Platinum artist Adam Young, GCPRO
Founder PK Pandy photo by Felipe Tavera

Walters-Storyk Design Group-WSDG, has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s Electric Lady Studios (1969); NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music, Boston (2015 TEC winner) and Valencia, Spain; and media rooms for such corporate clients as Hoffman La Roche. Recent projects include NYC’s Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composers Carter Burwell and A.R. Rahman, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk), Beth Walters, Sergio Molho, Renato Cipriano, Dirk Noy and Silvia Molho lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is a nine-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, LA, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

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WSDG-DESIGNED APJ AUDIO SCHOOL FURTHERS HAITIAN REVIVAL

Artists For Peace & Justice Sees School As A Catalyst For Growth

JACMEL, HAITI: Some people might say the last thing Haiti needs is a professional recording school, but those naysayers would be way off track. The malevolent hurricane that devastated the troubled island in September 2008 was followed in 2010 by a cataclysmic earthquake. Despite these catastrophes the Haitian people have endured. With the help of the world community (and a number of closer to home good Samaritans), Haiti is building a bridge back from the abyss. The goal of inspiring her resilient people, and helping to resurrect her fragile economy required a confluence of hard work, determination and… connectivity.

Among this disparate group of committed volunteers stand Academy Award-winning filmmaker and Artists for Peace and Justice (APJ) founder, Paul Haggis, Arcade Fire, documentary filmmaker and APJ CEO, David Belle, Electric Lady Studios, and the Walters-Storyk Design Group.

In 2004, David Belle, who lived and worked in Haiti for 18 years, co-founded Féstival Film Jakmel. In 2008, he founded Haiti’s only film school, Ciné Institute, to educate and support young local filmmakers and to help build the country’s creative economy using a successful model rooted in training, employment and professional support. Belle connected with Paul Haggis, joining the board of Artists For Peace & Justice (APJ) at its inception in 2009, to 1. (7),  APJ Audio Inst. Control 3546  LR

2. (8) APJ Audio Inst. Console to rear_3625 LR

3. (9) APJ Audio Inst. Live horiz_3641 LR

4. (10) APJ Audio Inst. Live vert_3654 LR

6. APJ ext

140528 APJ - Building A and C axon presentation drawing

140528 APJ - Building C presentation drawingsupport communities in Haiti with programs in education, healthcare and dignity.

Following the earthquake in 2010, Haggis and Belle allied with Quincy Jones and Lionel Richie, who had formed the not-for-profit We Are The World Foundation to raise money and consciousness for Haiti’s earthquake survivors. Their star-studded 25th anniversary edition of Michael Jackson’s We Are The World anthem provided seed funding to expand the professional school in Jacmel, with its new division, Audio Institute: We Are The World School of Music and Audio Engineering. Together, the film and music divisions now form Artists Institute; Haiti’s only free technical college for art and technology.

“When we began researching studio designers for the school, we reached out to Arcade Fire co-founders Regine Chassagne and Win Butler,” Belle explains. “Regine’s roots are in Haiti, and she has been deeply involved in raising funds and consciousness for the island since the hurricane and earthquake. The group was recording at Electric Lady Studios in NYC when we called. They asked studio manager Lee Foster to suggest an architect/acoustician, and he immediately recommended WSDG, and John Storyk.”

Built with hurricane (and earthquake) secure construction techniques and materials on the 5 acre site of a former ocean front estate, the Artists Institute campus resembles an island village. The Audio Division’s (1432 sq. ft.) Write/Mix/Track Building features four 87 sq. ft. Write/Track, two 149 sq. ft. Mix/Track rooms and 553 sq. ft. support space; A pro audio schoolhouse featuring two (500 sq. ft.) classrooms; and a (1314 sq. ft.) Recording Studio Building with a 579 sq. ft. live room and a 326 sq. ft. Control Room and 409 sq. ft. of support space. Designed to accommodate two simultaneous classes of 35 1st year and 35 2nd year students each, Audio Institute offers hands-on training on contemporary audio production and mixing technology, and classes on entrepreneurship, business, ethics and leadership development, and English.

WSDG Project Manager Joshua Morris reports that, “Despite the school’s secluded location, it was necessary to close the acoustic spaces using low tech but highly efficient split slab techniques. Engaging doublewide masonry walls and independent concrete ceiling slabs we insured that our isolation goals were achieved by using a build language that could be supported by on-site labor. We carefully detailed our design requirements and techniques to make them comprehensible to the local contractor and construction team. Our sensitivity to locally sourced materials inspired us to completely rethink how we detail our acoustic treatments.”

The school’s centerpiece is a professional recording studio featuring an SSL AWS 924 Console, Genelec 1037C speakers and Genelec 8040A + 7070A surrounds. Acoustically treated to support a wide range of styles including traditional Haitian Voodoo rhythms blended with rock, pop and blues (known as Razin), the live room takes full advantage of the island setting, and is graced by a 22 ? ft. high ceiling, a 20 sq. ft. ISO booth, sound lock, storage and machine room. Flooded with natural light from numerous windows, and blessed with breathtaking ocean views, the studio combines inspirational vibes with superb acoustics, and benefits from a clean straightforward, cost-effective WSDG design.

“The apparent simplicity of the studio and live room is misleading,” Morris adds. “We performed extensive acoustic modeling to provide the rooms with sophisticated architectural elements that enhance the sound quality and temper reverberation time. We also sent a WSDG team to Haiti to perform the systems integration. This process enabled us to meet our budgetary and aesthetic directives while assuring students and visiting artists of exemplary recording and playback quality. Thanks to the schools isolated location, it was unnecessary to float the control room or invest in costly acoustic treatments,” he concludes.

Artists Institute has committed its energies and resources to the development of an innovative full-scholarship, 2-year college devoted to providing talented Haitians with an audio (or film) production education, real jobs, and professional support designed to help graduates break the cycle of poverty and grow Haiti’s creative industries. Additionally, the Audio Institute: We Are The World School of Music and Audio Engineering studio is available to local (and international) recording artists and guest engineers seeking a professional recording facility in an inspirational, off the beaten track environment.

“As an educator and guest lecturer at the Berklee College of Music and other leading universities, I’m keenly aware of the needs of both students and instructors,” John Storyk remarked. “Audio Institute reflects lessons we’ve learned in maximizing student line-of-site, in future proofing technology selection and a number of subtle techniques that will benefit everyone involved with APJ. We hope the school launches a number of successful careers, and that the music its graduates make inspires understanding and compassion for this wonderful island, and helps to put them on a more equal footing with the rest of the world.”

Photos 1-2 Artists For Peace & Justice Studio Control Room
3-4 Artists For Peace & Justice Studio Live Room
5-6 Artists For Peace & Justice Exterior – Jacmel, Haiti
(2) Presentation Drawings

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Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s 1969’s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston (2015 TEC winner) and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composers A.R. Rahman & Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College,) Beth Walters, Sergio Molho. Renato Cipriano, Silvia Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a nine-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, LA, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

Founded by filmmaker Paul Haggis, Artists for Peace and Justice (APJ) is a non-profit organization that encourages peace and social justice and addresses issues of poverty around the world. APJ’s immediate goal is to serve the poorest communities in Haiti with programs in education, healthcare, and dignity through the arts. APJ’s Artists Institute currently offers programs in film through Ciné Institute, and programs in audio engineering through its newest division, Audio Institute: We Are the World School of Music and Audio Engineering.

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LOWER EASTSIDE GIRLS CLUB INTRODUCES WSDG-DESIGNED AIRSTREAM TRAILER RECORDING, BROADCAST & TEACHING STUDIO

CHERYL FLEMINGCHERYL FLEMINGCHERYL FLEMINGCHERYL FLEMINGCHERYL FLEMINGCHERYL FLEMINGCHERYL FLEMINGCHERYL FLEMINGWho Says You Can’t Find A Parking Spot For A Recording Studio In NYC?

NEW YORK: As the culmination of a nearly 20-year-long odyssey, the Lower East Side Girls Club has added a new component to its year-old Center for Community. A classic Airstream Trailer (circa 1958) has been repurposed as a teaching, recording, and broadcast production studio for LESGC’s WGRL Internet Radio Station and Recording Arts Program. Prominently displayed in a second story window in LESGC’s recently completed $20 million sustainably-built 12 story building at 101 Avenue D, the studio was designed and configured by Walters Storyk Design Group cofounder/architect/ acoustician John Storyk,

The Airstream recording studio joins an eclectic assemblage of innovative LESGC educational and career training options for low-income teens and families. Spread across three floors and 30,000 sq. ft., these classes range from a digital photography/computer graphics /3D-printing lab, to hands-on BioBus labs, small business training and incubator space (commercial kitchen, bakery, gift shop, cafe) and, a 64-seat planetarium.

The recording studio was a pet project of Dave Pentecost, a career television editor and musician; his wife Lyn Pentecost co-founded the Lower Eastside Girls Club in 1996. In 2004, the Pentecost’s fell in love with an iconic 1958 Airstream trailer, and purchased it to park besides their Adirondacks cabin, in upstate New York. “When the LESGC building became a reality we felt our Airstream could serve a better purpose in the community as a sound studio, and we brought it to Manhattan,” he says. “I’d met studio designer John Storyk years earlier, reconnected with him in 2010, and invited him to contribute his skills to retrofitting the Airstream as a recording studio.”

“We’ve built recording studios in a basement (Electric Lady), and a duplex penthouse overlooking NY’s Highline (Jungle City),” Storyk says, “but this is the first time we’ve had the chance to ply our trade in an Airstream Trailer. As a visiting professor of acoustics and studio design for the Berklee College of Music and other schools, I have an abiding interest in educating young people. Dave Pentecost brought WSDG a compelling challenge, ‘was it possible to create a viable recording studio within the confines of a 140 sq, ft, Airstream Trailer?’ The obvious answer is yes, although the geometry, the equipment selection and the acoustic considerations did present us with significant design restrictions. If an opportunity to design a studio for a submarine ever comes up, we might take a pass,” he adds.

The Airstream Studio includes both a live room for radio, vocals, and instruments, and a control room. In that regard, it is one of a kind. It will also be engaged to produce and mix Internet radio programming for the Girls Club’s new WGRL Internet Radio station, sound tracks for student videos and for the LESGC Planetarium’s constantly evolving educational presentations, and to record live student performances from the stage of the 2nd floor community room in which it resides. It can accommodate up to 3 students and an instructor in the control room, and another 3 to 4 people in the live room area. The space outside the trailer is a combination classroom/ live performance stage.

Ms. Pentecost and a diverse group of community, grassroots and financial supporters first formed the LESGC, when they realized there were no distaff alternatives to the city’s various Boys Club organizations. The new building has over a dozen separate program sites, and can accommodate up to 200 members simultaneously. The upper stories (accessed via a separate entrance), are allocated to mixed income rental apartments, approximately half of which are available at middle and low-income rates.

Though compact, the control room is 5.1 surround ready, and features an array of pro gear including an Avid C/24 mixing console, Genelec Speakers, outboard processing technology from Manley, API, Neve, Universal Audio, SSL, etc., and mics from Neumann, Royer, Shure and Sennheiser. A serious professional-level studio, the Airstream will provide LESGC members with a serious, realistic hands-on recording experience.

“In my teaching experience I have seen an increasing number of young women seeking
roles in pro audio production,” John Storyk concludes. “The LESGC Studio will serve as a valuable introduction to the field of audio recording and mixing. It will be very interesting to watch (and hear) the skills they develop, and to see them transfer these skills to the real world.”

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Photo Caps.
1. Lower East Side Girls Club Airstream Recording / Teaching Studio Rear to Front
2. Lower East Side Girls Club Airstream Recording / Teaching Studio Interior
3. Lower East Side Girls Club Airstream Recording / Teaching Studio CR
4. Lower East Side Girls Club Airstream Recording / Teaching Studio with view to classroom
5. LESGC Live Recording Booth
6. LESGC Recording Workshop Classroom/Performance Stage
7. Lower East Side Girls Club Airstream Recording / Teaching Studio exterior
8. Lower East Side Girls Club Airstream Recording / Teaching Studio (from Ave. D through 2nd floor window

All photos by Cheryl Fleming www.cherylfleming.net

Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s Electric Lady Studios (1969); NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music, Boston (2014 TEC winner) and Valencia, Spain; and media rooms for such corporate clients as Hoffman La Roche. Recent projects include NYC’s Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer’s Carter Burwell and A.R. Rahman, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk), Beth Walters, Sergio Molho, Renato Cipriano, Dirk Noy and Silvia Molho lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is a nine-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, LA, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

Since 1996 The Lower Eastside Girls Club (LESGC) has been providing innovative, community-based holistic programs and services for girls and young women. The mission of LESGC is to break the cycle of local poverty by training the next generation of ethical, entrepreneurial and environmental leaders. The LESGC provides a place where girls and young women 8-23 can grow, learn, have fun, and develop confidence in themselves and their ability to make a difference in the world. In 2013 the LESGC moved into a permanent Center for Community on Avenue D – 30,000 sq. feet of new state-of-the-art program space dedicated to the advancement of girls, and the neighborhood at large. www.girlsclub.org

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SONNOX RELEASES LIVE SOUND BUNDLE FOR AVID VENUE & S3L CONSOLES

ANAHEIM, CA – WINTER NAMM BOOTH #6526:Sonnox LIVE Sound Bundle Sonnox Plug-ins have been road-tested by top sound engineers for years, and have proved invaluable in optimizing live sound for concert audiences. Engineers for Nine Inch Nails, Duran Duran, Massive Attack, J-Lo, Peter Gabriel, FKA Twigs, and many other superstars extol the benefits of having Sonnox in their mixing arsenal. Now, Sonnox LIVE, a powerful bundle of high quality plug-ins, is being introduced specifically for use with Avid Venue and S3L consoles.

“With Avid consoles dominating a major segment of the tour scene, we have customized a definitive bundle of Sonnox plug-ins specifically for engineers using those desks,” reports Sonnox Senior Sales and Marketing Manager, Nathan Eames. “Live sound engineers like Andy Carrington, Rick Camp, Snake Newton, Ben Findlay, Robb Allen and many others rely on Sonnox Plug-ins for that ‘special edge’. With touring acknowledged as the primary revenue source for most artists these days, live sound quality has never been more critical,” Eames says.

The Sonnox LIVE Bundle is comprised of five plug-ins that support both TDM and AAX DSP formats:
• Oxford EQ – The industry standard digital 5-band parametric EQ + filters
• Oxford Dynamics – A multi-functional suite, includes: compressor, gate, limiter, expander, side-chain eq and ‘warmth’ control
• Inflator – Enhances presence, loudness, and warmth
• TransMod – For ultimate transient control and punch
• Oxford Reverb – A highly versatile Reverb, which includes a parametric EQ for complete control
• An AAX DSP plug-in: SuprEsser DS, is included for the exclusive use of S3L users.

Sonnox LIVE is available now at an RRP of $949.00 / £500 GPB

Important Note: Mac and Native licenses are not included in this specially priced Avid Live console bundle (Equivalent cost of HD-HDX bundle including Native Licenses = $1,674. / £1,056. GPB). For additional details visit www.sonnox.com/live

Photo: Sonnox Live Poster
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For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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FINE TUNING HARMAN’S AUDIOPHILE LISTENING ROOM

CHERYL FLEMINGCHERYL FLEMINGCHERYL FLEMINGCHERYL FLEMING

The Acoustic Environment Is A Critical Element Of The Sound System

NEW YORK: “These speakers sound OK, but that’s not good enough. Something isn’t right with this room.”* In May 2014, Harman International acquired an expansive space at 527 Madison Ave. (54th St.) for its flagship experience center. Designed to showcase their full range of consumer and audiophile equipment, the street level would be devoted to Harman’s AKG(r), Harman Kardon(r), JBL(r), and other respected brands. The lower level would feature a screening room and, behind a discrete sliding door, a private listening room outfitted with Harman’s premium Mark Levinson(r) amplifiers, and award-winning Revel Salon2 Speakers, a CD/SACD Disc player, and a turntable for vinyl aficionados. After six months of construction, the showroom and its listening room were ready for a trial run. Surprisingly, despite meticulous planning and design, it was clear to the true audiophiles in the room that something was amiss. *Harman exec.

“The sound we heard on that first demo would have pleased untrained ears, but we instantly recognized an absence of resonance, separation, sonic clarity, and warmth,” explains Harman Lifestyle Division Senior Manger, Retail, Jamie Feuss. “We know how Mark Levinson preamps, amplifiers and CD/ASCD players are supposed to sound, and we appreciate the unparalleled power, and clarity of Ultima 2 speakers but we weren’t hearing it. The problem had to be corrected before we could invite true audiophiles for demos.”

“The original acoustician enlisted to test the room recommended an extensive, lengthy and, costly process, which included wall and ceiling reconstruction, and complex rewiring,” Feuss says. “We were committed to a November opening in time for the holidays, but beyond that, the recommendations seemed excessive and expensive. We called the Walters-Storyk Design Group for a second opinion. Architect/acoustician John Storyk made a site visit in September and performed a series of acoustic modeling tests and measurements. He discovered a total absence of bass control, and an astonishing lack of low frequency compensation. With a resume that includes Jazz At Lincoln Center, Le Poisson Rouge, 54 Below and personal recording studios for Bruce Springsteen, Alicia Keys, and (back in the day), Jimi Hendrix, John Storyk’s acoustic instincts are unerring. WSDG enabled us to meet our opening deadline, and the response to the sound system and the room has been universally favorable,” Feuss adds.

“We encounter similar conditions on many of our room analysis assignments,” John Storyk reveals. “Most of our work is focused on the design and construction of new recording studios and critical listening rooms. When we participate at the drawing stage, we eliminate potential diffusion, reflective sound, absorption and other acoustic complications prior to construction. In pre-existing environments, baring serious sound leakage (into or out of the room), which can entail costly room-within-room construction, many of these issues can be resolved by the judicious application of custom low frequency control applications which were the key missing elements in this space.
“As in most untreated small rooms, the interior environment’s modal behavior typically results in the uneven spacing of Eigen tones (commonly called standing waves),” Storyk says. “By re-ordering these modes (specifically controlling their relative amplitudes) with topical treatments, we were able to maximize the successful linear reproduction of sound for the Mark Levinson audio components and the Revel Ultima 2 Speakers in the Harman room,” he explains. “Both the rear wall perforated wood / Helmholtz Resonator and the suspended ceiling clouds contribute to low frequency control. We applied additional broadband absorption to the front wall to compliment the existing carpet and, to slightly reduce the room’s broadband / mid-frequency reverb time (decay rate).

“These surface treatments resolved all the acoustic issues in a timely, efficient and cost-effective manner,” he adds. “And, in addition to being acoustically efficacious, they’re aesthetically pleasing. We literally ‘tuned’ the room, just as a musician tunes his instrument or a mixing engineer finesses a recording during the mastering process. The listening room now empowers this extraordinary Harman technology to provide audiophiles with the ultimate listening experience.

“Most people do not have ‘calibrated’ listening skills” Storyk concludes. “While some may pick up on the benefits of superior sound quality if they encounter it, many are satisfied with lo-fi systems and the now sadly ubiquitous ear buds. Ultimately, everyone, from the most discriminating audiophile to Baby Boomers and Millennials need to recognize the fact that their system’s environment is as crucial a component as their woofer, speakers, tweeter or turntable. If their room isn’t tuned, the sound of their music will suffer.”

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1. Harmon Listening Room – Front Broadband Absorption Panels
2. Harmon Listening Room – Side view Broadband Absorption Panels
3. Harmon Listening Room – Rear wall perforated wood/Helmholtz Resonator
4. Exterior, Harmon Int’l Flagship Experience Center 527 Madison Ave. NYC

Photos by Cheryl Fleming www.CherylFleming.net

Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s Electric Lady (1969); NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music, Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s Jungle City Studios and private studios for Grammy winner Paul Epworth, Green Day, Jay-Z, Timbaland’s Tim Mosley, film composers Carter Burwell and Academy Award winner A.H. Rahman, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, Sergio Molho, Renato Cipriano, Dirk Noy and Silvia Molho lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is an eight-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/ Facility Design. The firm maintains offices in NY, SF, LA, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

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SONNOX FRAUNHOFER LAUNCH PRO-CODEC VERSION 3

Sonnox Fraunhofer Pro-Codec V3Available Now, New Features Include Meta-Data Editing And Batch Processing

OXFORD, UK: Fraunhofer IIS, a leading international developer of audio and multimedia technologies, and groundbreaking plug-in designer/manufacturer Sonnox Ltd., have announced the launch of Pro-Codec Version 3. Introduced in 2011 to universal acclaim, the original Pro-Codec set new standards for real-time auditioning and mixing for online distribution. Version 3 represents a significant update to that innovation with the addition of a standalone ‘manager’ application, which facilitates metadata editing and batch processing capabilities, making the task of encoding multiple files substantially more efficient

The Fraunhofer Pro-Codec is the single most powerful audio encoding plug-in for digital audio workstations. It integrates Fraunhofer’s AAC and mp3 codecs including MPEG Surround and multi-channel AAC formats for surround mixing, and Apple’s iTunes+ codec for mixing directly for the Mastered for iTunes program (Mac version only).

Pro-Codec Version 3 adds 64-bit compatibility and AAX support, as well as supporting existing formats such as RTAS, Audio Units and VST. It is available immediately at a retail price of $495.00 USD (£295.00 GBP)*

Features include:

Supported Codecs:

– mp3, Apple AAC iTunes+ [Mac only], AAC-LC, HE-AAC, and HE-AAC v2
– mp3 Surround, MPEG Surround, AAC-LC multi-channel, HE-AAC multi-
channel
– HD-AAC
* Comprehensive real-time auditioning with glitchless switching
* 64-bit compliant (AAX / AU / VST)
* Batch encoding of multiple files
* Metadata editing
* AB auditioning in real time between codecs, or between codec and input signal
* High resolution display
* Compatible with many digital audio workstation applications, such as:
– Pro Tools, Logic, Cubase, Nuendo, Sequoia. (Mac and PC)

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*Existing owners may upgrade at no additional cost. iLok2 required.

Photo The Sonnox Fraunhofer Pro-Codec V3 is available now.

For more information please visit: www.sonnox.com/procodec

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BLACK FRIDAY SONNOX SALE IS BACK

40% Discount On Elite, Essential and Enhance Plug-in Bundles

Sonnox Black Friday 2014OXFORD UK: Back by popular demand (and in the spirit of traditional U.S. Thanksgiving shopping bargains), Sonnox is once again offering a generous “Black Friday Sale!” Beginning at 12:01 PST on Wednesday, Nov. 26, 2014, and extending through 11.59 pm PST Monday, Dec. 1, holiday plug-in shoppers will enjoy 40% Off List Price on the following bundles*

* Sonnox Elite, Essential, Enhance, Broadcast, Post and Restore

For more details and to take advantage of the Sonnox Black Friday Sale, visit: http://bit.ly/1thnH2T

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*iLok2 is required for authorization.

Photo: Sonnox Black Friday Sale

For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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WSDG STUDIO A KEY RESOURCE FOR PRESONUS HIGH TECH COMPLEX

1. PreSonus Live Room

2. PreSonus Control Room

BATON ROUGE, LA: Motivated by ongoing growth and committed to providing their expanding market with innovative new products, in August 2012, PreSonus Audio Electronics, Inc. commissioned an $8+ million, 44,000-sq. ft. complex to be built in their home town of Baton Rouge, LA. Following almost two years of design and construction, the leading manufacturer of professional digital and analog audio hardware and integrated software officially opened its new high-tech headquarters and research facility In April 2014. Located at 19151 Highland Road, this state of the art facility includes R&D, testing and engineering departments, executive offices and, in an atypical move for a manufacturer of professional audio technology, a state-of-the-art recording studio.

Developed by Walters-Storyk Design Group the cutting edge, 2500 sq. ft. Recording Studio in features a 313 sq. ft. control room, 500 sq. ft. live room, two iso rooms (127SF & 60SF), a 127 SF Video Production Suit and five 100+ SF Test Labs, and, an additional 1500 sq. ft. live performance area. Fully isolated from the surrounding marketing, sales, business/meeting rooms, company café and support areas within the recently completed PreSonus Technology Headquarters building, the studio serves as the hub for R&D activity. And, as a special perk for PreSonus employees. WSDG Project Manager Joshua Morris reports that in addition to serving its primary purpose as a real world testing lab for PreSonus technology, the studio is available to PreSonus employees as a tool for honing their personal recording, performing and mixing projects (subject to availability).

“It is extremely rare to find a manufacturer prepared to invest in a full blown in-house Recording studio on this scale,” remarked WSDG co- principal/architect/ acoustician John Storyk. The thinking was it was vital that new PreSonus technology developments be subject to real world recording studio conditions. Rather than depending upon the availability of pro studios, the PreSonus R&D team can now benefit from access to a studio of their own. It enables their engineers to focus their energies on experimenting with new ideas, and to accomplish extensive tweaking in a controlled environment without concern for usurping valuable and energy from studio-owner friends.

“We love everything about our new building but our WSGD-designed recording studio and live room are special,” says PreSonus CEO Jim Mack. “We now have first-class audio production, R&D, and testing facilities that sound great and, are acoustically isolated so everyone is happy. WSGD worked hard to make these rooms truly excellent, and we’re delighted!”

“Studio owners love the opportunity to field test new devices,” Storyk adds. “But there is a double-edged sword aspect to sending out gear that hasn’t been fully vetted in real world conditions. This studio provides the PreSonus R&D team with a tremendous advantage over traditional ‘bench-testing. Scrupulously assessing their new developments in their own pro studio should go a long way towards eliminating bugs and wrinkles prior to field-testing. It brings a level of security that will enable early users to totally focus on the positive applications of these new tools,” Storyk concludes.

###

Photo 1 WSDG-Designed PreSonus Live Room
Photo 2 WSDG-Designed PreSonus Control Room

Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s 1969′s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s TEC award winner Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College), Beth Walters, Sergio Molho, Renato Cipriano, Silvia Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is an eight-time winner of the NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, LA, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

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BERKLEE COLLEGE OF MUSIC PREMIERES TEN STUDIO WSDG-DESIGNED COMPLEX + 400 SEAT “CAFÉ” PERFORMANCE/RECORDING VENUE IN 160 MASS. AVE. TOWER

BOSTON, MASS. Berklee College of Music opened the doors to its 160 Massachusetts Avenue, residence tower in January 2014. The building now features one of the largest, most progressive, and versatile professional audio teaching/production/performance complexes in the U.S. Over three years and $100 million have been invested in the development and construction of this cusp point educational compound. Situated over four dedicated floors in a striking, sixteen-story, 155,000 sq. ft. William Rawn Associates building, the ten-studio Walters-Storyk Design Group – designed, audio education component represents a pinnacle of contemporary studio planning.

A commanding floor-to-ceiling glass wall overlooking Massachusetts Ave. distinguishes the 21,400 sq. ft., 400-seat ‘Berklee Café.’ Originally conceived as a student-dining hall, early in the design phase, Berklee senior staff recognized an opportunity to utilize the space (replete with a 38’ high ceiling, and a gracefully curved, 2nd floor balcony), as a live performance/recording venue for students. WSDG was tasked with devising optimal acoustical treatments for the showplace and with providing total connectivity to multiple control rooms throughout the 23,800 sq. ft.’ A & B level, recording education complex. Nightly student performances began in January, quickly establishing the room as a superb talent platform and (not incidentally), an outstanding ‘live recording room.’

“WSDG has not only designed many of the world’s best studios, they closely monitor the smallest construction details to insure that they are built to impeccable standards,” states Roger H. Brown, President, Berklee College of Music. “We are delighted with the outcome, both in the studios they designed for our campus in Valencia, Spain and with this new suite of studios in our 160 Massachusetts Avenue building. Berklee students deserve the best, and now they have the best.”

Level A

Two stories below the Café, on Level A, the 2200 sq. ft. Studio 1 features a 1300 sq. ft., 13’/h, live room designed to accommodate an orchestra of up to 50 musicians. As the largest 160 Mass studio, this cutting edge recording/mixing suite includes: a 600 sq. ft. Control Room for classes of up to 16 students, and two oversized 110 sq. ft. ISO rooms. Extremely useful for multi artist recording projects, they compliment the WSDG-designed studios at the Berklee Valencia campus.

“Our Basel, Switzerland-based partners, Dirk Noy and Gabriel Hauser ran extensive auditory simulation and modeling tests to establish optimal acoustics for the performance café, the studios, and the critical listening environments,” reports WSDG Co-Principal/ Interior Designer, Beth Walters. “160 Mass. incorporates architectural elements and acoustic treatments which epitomize our 40+ years of studio design experience. These rooms are World Class.”

“Studio 1 engaged a number of innovative design elements,” reports WSDG Partner/ Project Manager, Romina Larregina. “Because it is clearly a ‘star’ attraction, Berklee College of Music President, Roger Brown and the executive team envision an on-going series of student tours through the complex. Faculty members were concerned that the panoramic 12’/w x 5’/h corridor window into the live room might prove a distraction to student musicians. To ameliorate this anticipated problem, WSDG recommended fitting the window with clear glass Quadratic Residue Diffusers. These custom-built treatments were precisely calibrated to diffuse the studio’s frequency range. Joined together as a single ‘sill-to-top’ installation they enhance the live rooms’ acoustics, provide visitors with an expansive view, and maintain the privacy required by working student musicians.

“The 1500 sq. ft. Studio 2 was designed for smaller ensemble recording projects, and features a 120 sq. ft. ISO Booth, and 360 sq. ft. Control Room,” Larregina continues. “The Lee Kennedy Co. Inc. contractors deserve tremendous credit for their contribution to this project. Each studio represents the latest word in room-within-room construction. Each studio is acoustically de-coupled and allows for zero tolerance in terms of sound leakage,” she adds.

Level A also features one of two 120 sq. ft. ‘tiered’ Central Machine Rooms (CMR), which represent a formidable achievement in ‘enhanced connectivity.’ “Due to the extensive amount of technology required by 160 Mass., we split the distribution within two fully integrated rooms, The Level A CMR is positioned directly above the Level B CMR,” Larregina explains. “This vertical configuration was extremely logical. Our long-time Systems Design & Integration Specialist Judy Elliott-Brown accomplished literal miracles in one of the most challenging wiring projects we have ever encountered.”

A twenty-five year WSDG veteran, Elliott-Brown has been involved with the 160 Mass. Ave. project since the project was awarded in 2011. Tasked with routing, running and connecting upwards of 100,000 feet of analog audio, video, CAT-6 and speaker wire with over 30,000 connections via some 5500 individual connectors throughout the three-floor recording, producing, mixing and teaching complex, Elliott-Brown considers 160 Mass one of the most complex assignments of her career, (a track record that includes NYC’s Jazz At Lincoln Center; SF’s Ex’pression College of Digital Arts; Village Studios, Guangzhou, China; and NYU’s James L. Dolan, Music Recording Studio/Teaching Complex). Collaborating with Berklee College of Music Chief Engineer Burt Price, and Jerry Smith, Senior Director of Technology for the Writing and Technology Division, and enlisting the creative design assets of the entire WSDG global team Elliott-Brown encountered and resolved innumerable systems infrastructure issues.

“Over the three years that this project evolved from initial drawings to fine tuning, our primary mandate was to remain open to change. Technology shifts, room repurposing and functionality remained fluid well into the construction period,” Elliott-Brown says. “The most significant refocus was the decision to refashion the Cafeteria from a traditional dining hall into a performance venue. In retrospect this seems like an obvious call, but it was a brilliant expansion of the iconic role this three story high, glass-walled hall will now play in this complex. It presented some interesting acoustic and wiring challenges, but the benefits to Berklee students and guests will be enormous. Fortunately, the decision was reached early enough in the construction stage for us to accomplish the changes in a timely and efficient manner.”

Elliott-Brown supervised the system installation crew led by Redco Audio of Stratford, CT. She estimates that over the past three years she has devoted upwards of 2240 hours to 160 Massachusetts Ave.

Level B

Level B is comprised of five independent suites of varying size and purpose. Created for small ensemble recording, the 1100 sq. ft. Studio 3, features a 320 sq. ft. Control Room, a 140 sq. ft. ISO booth, and a 600 sq. ft. Live Room. Larregina refers to the 400 sq. ft. Mastering/ Critical Listening Lab, as a ‘self-contained Sweet Spot.’ “The precise acoustic tuning of this studio will provide classes of up to twelve students with an impeccable listening experience, one which will be difficult to match in the ‘real world,’” Larregina adds.

Another 160 Mass. ‘signature room’ is Level B’s 700 sq. ft. Dolby Atmos™ -ready Dubbing Stage which features twin 150 sq. ft. ISO Booths, and a 120 sq. ft. Overdub Booth. The 1400 sq. ft. Production Control Suite features four 170 sq. ft. Control Rooms, three of which are equipped with 100 sq. ft. ISO Booths, and all adjacent to a communal 400 sq. ft. lounge.

Fourth Floor Ensemble Rooms

The (7454 sq. ft.) fourth floor at 160 Mass. is dedicated to practice and rehearsal. Three conjoined, 250 sq. ft. Ensemble Practice Rooms were constructed with pro studio isolation and acoustic treatments to enable musicians to practice at peak volume without concern for sound leakage into neighboring rooms. Additionally, twenty Individual Practice Rooms of varying size were designed to accommodate a diverse range of rehearsal configurations. The fourth floor also houses a student fitness room.

Beth Walters, and WSDG interior design supervisor Silvia Campos Molho and interior designer Charlotte Ross collaborated with Berklee College of Music Assistant VP Carl Beatty on the overall 160 Mass interior design “VP Beatty suggested introducing subtle inflections of color to ‘warm and refine’ the atmosphere. To facilitate this goal, we developed a custom palette to compliment the college’s distinctive red and black motif,” Walters said.”

“As a former professional engineer I’ve logged countless hours in recording studios,” Carl Beatty remarked. “My interior design experience began with WSDG on Berklee’s Valencia, campus which has a ‘Destination Studio’ rather than a classroom vibe. Because 160 Mass. is a dedicated teaching facility, we envisioned an unequivocal pro studio setting. Beth and Sylvia prepared an expansive canvas of gold, ocher, lavenders, blues and other harmonizing colors, to enhance each room’s distinctive character. This complex bristles with technology, but its variable acoustic treatments, silver diffusers, dramatic ceiling clouds and other auditory elements are complimented by carefully considered aesthetics orchestrated by WSDG.”

Walters describes the three-year design/construction mission as, “An exceptional opportunity for WSDG to collaborate with brilliant clients and an outstanding architectural firm. Our challenge was compounded by the fact that we were simultaneously engaged in integrating our design for Berklee’s five studio Valencia Campus, in Spain,” she says. “The major differences between these two projects were scale and location. Berklee Valencia is set within the ultra-modern, Palau de les Arts Reina Sofia arts/performance complex, a world-renowned building. Boston’s four-floor, 52,654 sq. ft. audio education complex is the hub of a 16-story, ground-up building. Virtually every member of our international team made a meaningful contribution to both of these formidable endeavors. It is extremely gratifying to walk through 160 Mass. today, and know that WSDG helped to bring it to life.”

WSDG co-founder/architect/acoustician, John Storyk concludes, “Projects on this scale are extremely rare. Berklee College of Music President, Roger Brown, Assistant VP Carl Beatty, Jay Kennedy, Vice President for Academic Affairs/Vice Provost, and their entire executive cadre are among the most astute and forward thinking educators we have ever worked with. Their insights and recommendations were invaluable, particularly in proposing the Café as a performance/live recording space. A brilliant decision, albeit one, which presented considerable acoustic design challenges at that stage of the project. However, their prescience reflects a unique grasp of student needs. And, The Café was immediately recognized as the jewel in the 160 Mass. crown. Berklee College of Music has introduced a new standard of professionalism and commitment to a rapidly evolving career path. WSDG was privileged to contribute to this significant addition to America’s educational infrastructure.”

###
Photos:

1. Berklee College of Music 160 Massachusetts Ave. Café / Performance space
2. Berklee College of Music 160 Massachusetts Ave. Control Room 1
3. Berklee College of Music 160 Massachusetts Ave. Control Room 2
4. Berklee College of Music 160 Massachusetts Ave. Control Room 2 (vertical)
5. Berklee College of Music 160 Massachusetts Ave. Control Room 3
6. Berklee College of Music 160 Massachusetts Ave. Dub Stage
7. Berklee College of Music 160 Massachusetts Ave. Equipment Closet
8. Berklee College of Music 160 Massachusetts Ave. Mastering Suite
9. Berklee College of Music 160 Massachusetts Ave. Production CR
10. Berklee College of Music 160 Massachusetts Ave. Studio 1 C v1
11. Berklee College of Music 160 Massachusetts Ave. Studio 1 Live Room v2
12. Berklee College of Music 160 Massachusetts Ave. Studio 3 Live Room v1
13. Berklee College of Music 160 Massachusetts Ave. Studio 3 Live Room v3
14. Berklee College of Music 160 Massachusetts Ave. Exterior Day

Photos by: Cheryl Fleming/James Lane www.CherylFleming.net

1. 160 Mass. Cafe Horizontal LR

2. BCM_Control Room 1_01 LR

3. Control Room 2_01 LR

4.160 Mass. Control Room 2_02 LR

5. 160 Mass. Control Room 3 LR

CHERYL FLEMING

CHERYL FLEMING

8. 160 Mass. Mastering_01_ LR

9. 160 Mass. Production CR_02 LR

CHERYL FLEMING

11. 160 Mass. Live Room  1_02_LR

CHERYL FLEMING

CHERYL FLEMING

CHERYL FLEMING Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s 1969’s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s TEC award winner Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College,) Beth Walters, Sergio Molho, Renato Cipriano, Silvia Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is a seven-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

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PLATINUM PRODUCER PAUL EPWORTH COMPLETES STAGE ONE OF THE CHURCH STUDIO RENOVATION IN LONDON – A WSDG FIRST

1. The Church Studios Control Room Studio 2 Front - Photo  Dirk Noy LR

2. The Church Studios Control Room 2 side

3. Studio 2 - Booth - Photo  Dirk Noy LR

4 The Church Studios 3 Writing Room

5. The Church Studios 2 Live Room

6. Studio 2 -(l-t-r) Dirk Noy - Paul Epworth - John Storyk - Pete Hofmann - Beth Walters - Photo Credit Vicky taylor LR

140925 The Church Studios – Presentation drawing

140925 The Church Studios – Studio 2

140925 The Church Studios – Studio 3LONDON: In the culmination of a nearly yearlong reconstruction project, multi-Platinum/Academy Award-winning producer Paul Epworth (Paul McCartney, Adele, Coldplay, U2, Lorde), has announced the completion of stage one of a massive renovation of The Church Recording Studio. Reconfiguring the legendary Studio 2 Live and Control Rooms, and creating a unique totally new Writing Room, engaged the design skills of the Walters-Storyk Design Group, and the studio installation/operational expertise of Miloco Builds.

The massive stone church (circa 1855) originally converted to a studio in 1984 by producer/artist Dave Stewart, hosted hit sessions for artists ranging from Bob Dylan to Depeche Mode and Annie Lennox. Recording star David Gray purchased the studio in 2004 and continued its hit-making legacy. Committed to building a world-class studio in London, Epworth bought The Church from Gray in 2013. Earlier that year Epworth had worked at Anne Mincieli’s Jungle City destination studio in NY. Impressed by Jungle’s unique architectural sensibility, and its WSDG/Augspurger Dual 15 Vertical Speaker System, he reached out to architect/acoustician, John Storyk and WSDG.

“After building hundreds of idiosyncratic studios around the globe over the past 45 years, The Church marks our first footprint in London,” Storyk remarked. “Paul Epworth’s technical expertise and design instincts are as inspired as his hit record productions. Paul was particularly intrigued by our innovative monitor configuration at Jungle, and we customized an extremely effective system for him. Paul also worked closely with my business (and life) partner Beth Walters on an LED mood lighting system with a vastly programmable color palate. Installed in the totally white Studio 2 Control Room and Studio 3 Writing Room, the system provides infinite mood enhancing color options; it’s a huge aesthetic boon to creativity. We were especially pleased that Paul retained Miloco Services to supervise construction and operations,” Storyk concludes. “They’ve been on our radar for years, and working with them has been an extraordinary experience.”

The totally new (961 sq. ft./90 sq. m.) Studio 2 is an ultra modern showcase featuring a completely recapped classic SSL 4000G console, ‘insanely powerful’ custom WSDG/ Augspurger Monitors and, an astonishing array of outboard gear. The ‘Space Age’ (267 sq. ft./26 sq. m.) Writing Room designed from the ground up by WSDG, is distinguished by an Equinox summing mixer a 20 channel Neve Sidecar and complete access to The Church vintage gear collection.

Following the design and construction stage, WSDG partners Dirk Noy and (Grammy-winner) Renato Cipriano flew to London from Basil, Switzerland and Belo Horizonte, Brazil respectively, to perform final measurements, confirm acoustic accuracy and fine-tne the new rooms. Still on the drawing board for future renovation, Church Studio 1 is an epic (800 sq. ft./78 sq. m.) tracking room with a triple height ceiling and a vast arsenal of technology punctuated by a vintage 72 channel EMI Neve console (credited with recording such hits as Pink Floyd’s Wish You Were Here at Abby Road).

Commenting on The Church renovation, Paul Epworth remarked, “I was very impressed with the feel and the monitoring of Jungle City, and wanted to be the first to build a WSDG/Augspurger room in London to meet the needs of both British and international artists, producers and engineers. Bringing WSDG in to design two of their world-renowned rooms was the first step, and the collaboration with Miloco has been an incredibly successful team effort,” Epworth concludes. “The Church provides nearly 8000 sq. ft./743sm of recording space over three very different rooms, including rare and vintage recording gear married to the most modern digital and analogue equipment to give users the freedom to indulge their creative impulses instantly.”

###

For booking enquiries on The Church Studios email bookings@miloco.co.uk or call +44 (0) 207 232 0008

Photo caps

1. The Church Studios 2 Control Room front (photo by Dirk Noy)
2. The Church Studios 2 Control Room side (Photo by Lucy Williams)
3. The Church Studios 2 Booth (Photo by Dirk Noy)
4. The Church Studios 3 Writing Room (photo by Lucy Williams)
5. The Church Studios Live Room (photo by Lucy Williams)
6. The Church Studios 2 Live Room l-t-r WSDG Partner, Dirk Noy, studio owner/multi-Platinum producer Paul Epworth, WSDG co-principal, John Storyk, WSDG co-principal, John Storyk, Miloco Builds, Technical Director, Pete Hofmann, WSDG co-principal, Beth Walters (photo by Vicky Taylor)

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, Sergio Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG has collaborated with such noted architects as: Frank O. Ghery (Novartis Campus,) Rafael Vignoly (Jazz at Lincoln Center,) Norman Foster (El Aleph,) Oscar Niemeyer (CAMG,) Phillipe Stark (Faena Hotel,) Grimshaw (Zurich Airport,) and Santiago Calatrava (Berklee Valencia.) WSDG is a seven
time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for NY’s Jungle City. WSDG maintains offices in NY, SF, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City Mumbai and St. Petersburg.

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