With an impressive 16 Grammy wins, Serbhan is someone you can trust to set the bar for what a mix should sound like. With his fee at around $10,000 per mix and growing, his services don’t come cheap, but there’s no doubt that he delivers on the result. Ghenea is arguably the most sought after mixing engineer of our generation. It's an early reflection and LF management nightmare.Best Reference Track Mixed By A Star Engineer Serban Ghenea In a free standing design, a typical front wall window would also be a major issue. E.g I never understood why some design have large side or back windows. Any other location for a reflective surface will be an audible and measurable problem. Glass used there allows a full, large daylight source and /or view to a live room with zero technical compromise, or to make the room visually deeper and nicer to be in. The real trick in all this is the high pressure, ultra low frequency speaker decoupling system that removes all vibrations from the structure. The way you can further dampen cavity resonances in non-glass walls also helps even out the score and compensate for lower overall partition mass. If you reach about 75% of that mass you're fine. To get the equivalent with a normal wall build-out is difficult, but actually not needed. To the point that you cannot consider the glass cavity and room as coupled spaces whatsoever. Because the glass is very heavy and rigid per unit area and thanks to specific PVB films between the laminated layers being excellent at damping it, the performances are excellent, in this case equivalent in mass to 12+ layers of heavy drywall. The 'normal' in wall design also uses decoupling nacelles, so vibrations management is the exact same as with in-glass. Glass being such a hard surface would prevent any mechanical vibrations from leaking.Īny insight you can offer on your decision to build studios with the glass vs traditional in-wall would be much appreciated. the cabinets are completely separate and sealed off. Is there any sonic advantage to the glass? Just by looking at the pictures and using my limited knowledge of advanced acoustic design, I would guess that speakers suspended in glass with decoupling nacelles would be superior. Subwoofers levels differ a bit from one engineer to the other though - that's the only difference. The rooms are used and perform strictly as designed and main speakers were calibrated using our usual reference/benchmark for the type. There were no hold outs and no modifications requested or needed. So there is a full in-glass LCR in that one. One of the rooms in Nashville is used as a 2.2 and 5.1. They decided to go that route after visiting a number of other FTB rooms prior to the design phase starting.Īll the rooms are ATC110 A SL + 2x 15" Custom ATC subwoofers in-glass in our decoupling system (called decoupling Nacelles). Both fully floated bunkers at very low frequencies.ĪTC in-glass behave exactly like in-wall, there is simply no difference between the two in terms of acoustic response. In NY the 4x main shells are +/- 7.5/6.5m and the 2x Nashville shells are +/- 9.2/7.2m, with final surface about 60-65% of the initial one once all is said and done (shell, shell geometry, treatment etc). Their acoustic response measures almost exactly alike though - which is normal if you follow a standard. The two facilities in NY & Nashville are different shell sizes and designs but both to FTB standard. Must be absolutely amazing sounding.Thanks! Every engineer agreed to go that route, which I believe speaks volumes about the design concept. Now its all ATC encapsulated in the glass. At the previous studio every room had different free standing standing speakers.
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