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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

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 FLEMINGBOSTON, 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(tm) -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.”

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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

 

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

LONDON: 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.”

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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)

 

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 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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SONNOX RELEASES SUPRESSER DS

SuprEsser-DS-LgeLOS ANGELES: Returning to the Avid Connectivity Partner Pavilion (Booth 1101) for the 137th AES Convention, Sonnox will be introducing the Oxford SuprEsser DS. A highly-featured professional De-Esser AAX DSP plug-in designed for use with Pro Tools| HDX and Avid S3L live consoles. The SuprEsser DS features low latency of sub 2ms, and represents an ideal option for live applications or live tracking in Pro Tools.

Sonnox Sales and Marketing Manager, Nathan Eames reports the SuprEsser DS offers a simple mode for quick fixes, and an advanced mode for increased functionality and fine-tuning. “The combination of an intuitive FFT display and three listen modes enables you to easily see and hear exactly where the problem frequencies are, so you can suppress or remove them,” Eames said. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing.

Sonnox will be exhibiting at the Avid Connectivity Partner Pavilion, Booth 1101, at the 137th AES Convention in the Los Angeles Convention Center October 10-12, 2014.

For additional information please visit: SuprEsser DS.

Photo: Sonnox introduces the Oxford SuprEsser DS at the 137th AES Convention at the
Avid Connectivity Partner Pavilion, Booth 1101, Los Angeles Convention Center Oct. 10 -12, 2014.

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

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SONNOX HEATS UP PLUG-INS FOR SUMMER MADNESS SALE 35% OFF PLUG-INS AND BUNDLES

OXFORD, UK: Beginning on August 1st and continuing on throughout the month, Sonnox will offer a 35% discount on individual plug-ins and also bundles.

Company Sales & Marketing Manager Nathan Eames explains, “Buying multiple plug-ins and creating a custom bundle, purchasers are already saving up to 40% – so in effect, this Summer sale means an additional 35% discount. Now is a great time to buy Sonnox plug-ins!”

Included in the Summer Madness Sale are: Oxford Dynamics, EQ, Inflator, Limiter, SuprEsser, TransMod, Reverb, Fraunhofer Pro-Codec, and Sonnox Restore. To take advantage of these great summer prices Buy Now. iLok2 is required for authorization.

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

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WSDG A HIT FOR HONG KONG’S METROPLEX AT KITEC

HONG KONG: The Metroplex, a luxurious 9 screen multiplex cinema, opened this year in Hong Kong’s iconic Kowloon Bay International Trade & Exhibition Centre. Situated adjacent to the widely popular Star Hall, a 3600 seat scene of many major international concerts, The Metroplex is a self-operated independent cinema showing a wide range of films ranging from Hollywood blockbusters, to international award-winners, festival entries, local, specialty and independent films. Beyond its cutting edge technical advantages, Metroplex has the flexibility to cross platform live streaming, concerts & shows, multi-media conferences, and many other events. To support these presentations, the complex was designed to host premieres, dinners, cocktail parties, and business gatherings.

An investment property of Hopewell Holdings Limited. The complex reflects the Group’s vast experience in operating large-scale venues, and it establishes a new level of lavish comfort for filmgoers. Their unique concept was to bridge the gap between film and music by creating crossover events and festivals that would benefit from the venue’s diverse dining, socializing, large and small theaters and intimate screening rooms. Deeply concerned with the need to provide their audiences with the highest quality audio. To achieve that level of acoustic excellence the developers retained the services of the Walters-Storyk Design Group.

Company Principal/Director of International Relations, Sergio Molho reports that WSDG provided a comprehensive review of the architectural master plan layouts and prepared a detailed analysis of the acoustic package recommendations provided by a local consultant. Particular attention was addressed to issues of Sound isolation and (RT60) internal room acoustics. The client’s primary concern was to assure absolute Sound isolation between the movie theaters and the large event hall located on the upper floor specifically with regard to NC and STC parameters. House #1, the Metroplex’s largest theater, accommodates an audience of 430. The five other public theaters (#2-6) seat groups of 151, 138, 136, and 97 guests respectively. Additionally, three plush VIP Screening Suites (#’s 7,8, 9) have been created to host elite clusters of twenty guests each. Theaters 1 & 3 and all three of the VIP Suites offer opulent reclining lounge chairs, state of the art lighting, exquisite interior designs and Dolby(r) Atmos(tm)+ Dolby Surround 7. 1 sound. The four other theaters are outfitted with Dolby Surround 7.1. The futuristic lobby and dining areas provide an unsurpassed ambience for elegant gatherings.

“These theaters are among the most sumptuous we have ever seen,” Sergio Molho concludes. “The developers spared no expense in creating a new standard of luxury and comfort for their guests, no extravagance was overlooked. Their mission statement was clear, ‘we are here to pamper our audience and to provide the ultimate environment for ideal viewing and listening excellence’. We made a special point of doing everything possible to help them reach that goal.”

Photos

1. Metroplex Lobby
2. Metroplex Cinema 1
3. Metroplex Dining Hall
4. Metroplex VIP Screening Suite #8

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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 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 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, LA, Miami, Buenos Aires,Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St,. Petersburg and Mumbai.

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SPICE HOUSE SOUND… A WSDG SHOWPLACE AND – - – A PROVING GROUND FOR INNOVATIVE TECHNOLOGY

PHILADELPHIA, PA: Spice House Sound, a new recording studio offering innovative acoustics and an abundance of singular technology, has set up shop in a gut-renovated former Philadelphia stable circa 1885. In 2011 (21-year-old) ‘audio-impassioned gear head’ Alex Santilli made a cold call to Walters-Storyk Design Group,www.wsdg.com Architect/Acoustician John Storyk. Little did either of them imagine they were embarking on an epic journey of experimentation and discovery.

The spacious live room boasts a 25′ ceiling height. WSDG Project Manager Matthew Ballos reports the groundbreaking, ceiling cloud is a ‘one of a kind marvel of (mechanical) engineering. “Taking full advantage of the elevation, we wanted to provide Alex with the flexibility to track widely diversified sessions. Working together we came up with a motorized, track-mounted acoustic absorption unit, which gives new meaning to the term “ceiling cloud.” We also employed more traditional, wall-mounted variable acoustic treatments. These two systems work hand-in-hand to provide the space with the versatility of sounding like a large live room or a small intimate space.”

“Spice House Sound is a gem,” John Storyk remarked. “Alex Santilli has a genuine reverence for sound. And, he’s an innate ‘gear whisperer.’ He can breath new life into vintage technology most of us would just shovel dirt over. I was intrigued by his vision for the studio, and found him to be a hand’s-on prodigy. He personally implemented the entire systems integration, pulling every wire himself. We appreciate projects that we can have fun with and learn something from. Spice House fulfilled both those wishes.”

At age 13, Alex Santilli went from building Legos to assembling computers. At 16 he began designing custom speakers. By 19 he was mixing on Pro Tools, and had began restoring ‘dead’ analog consoles. In 2009 a local studio owner hired him to ‘resurrect’ expired gear. Before long, Santilli had restored his console and outboard gear, rewired the entire studio, was engineering sessions and, eventually managing the studio. Two years later he was ready to build his own.

“The building provided us with about 2000 sq. ft. of usable space,” Santilli says. “Our live room has a 650 sq. ft. foot print, our goal was to maximize its volume. The room opens to a cavernous 16,000 cubic feet. Our 120 sq. ft. iso booth can function as an overflow mix station. A semi-isolated 90 sq. ft. sound lock can double as a recording space and, it adds to the overall flexibility of the studio,” he adds. “At 400 sq. ft. the fully isolated, room-with-in-room, control room comfortably accommodates 10 and, its’ ceiling slopes from 10 to 14 feet. Taking full advantage of this height, a loft area was created above the control room, iso booth and sound lock. This area acts as a home for the operable ceiling cloud when it’s not in use. All spaces have been wrapped in reclaimed barn wood, which enhances the vibe and amplifies the beauty of the studio. And, band members can actually record from the Control Room roof if they’re looking to hit some especially high notes.”

The heart of the Spice House (www.spicehousesound.com)system has been rebuilt and redesigned with carefully selected components and circuits to attain a performance standard beyond that of professional equipment. By retrofitting state-of-the-art components and op amps, utilizing direct-coupled and transformer-coupled circuits, and expanding bandwidth performance for zero phase-shift in the audio band, Santilli created a distinctive sonic signature to define the studios’ idiosyncratic sound. He spent 8 years designing the loudspeakers and reproduction system, focusing on sensitivity, transient response, true full range response, and linear absolute phase. “We achieved a carefully crafted and measured experience that can only be realized to its full potential in a John Storyk-designed room,” he says.

“No one will recognize the console or the mains. I built them from scratch and have been fine tuning them for a couple of years. One of the special kicks about working with WSDG was having a chance to collaborate with John Storyk.” Santilli concludes. “Matt Ballos and the WSDG team were extremely helpful, and everyone went the extra nine yards. But the idea of picking up the phone, calling John out of the blue, and having a pretty meaningful conversation with him was a great surprise. I see this studio design/ build experience as an extended ‘one-on-one master class.’ I couldn’t be more pleased with the look and sound of Spice House Sound, and I get the feeling John had a pretty good time with this gig too.”

Spice House Sound’s flagship project was Flyermile (sic) a new rock band that took full advantage of the unorthodox shape of the room to cultivate an overabundance of idiosyncratic sounds.

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1. Spice House Control Room view to Live Room
2. Spice House Control view to rear
3. Spice House Live Room (note retractable ceiling cloud)
4. Spice House Founder Alex Santilli
5. Spice House Presentation Drawing

Photos by Cheryl Fleming Photography http://www.cherphotos.com/architecture

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 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, LA, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, Mumbai and St. Petersburg.

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WSDG BRINGS NETWORK-QUALITY STREAMING TO PELOTON’S FLAGSHIP NYC INDOOR CYCLING CENTER


NEW YORK: In developing a NYC flagship site for live and on-demand, indoor cycling classes, the Peloton brain trust recognized the need for a cutting edge video broadcast studio for the streaming element of their visionary program. Company co-founders, CEO, John Foley, COO, Tom Cortese and Marion Roaman, (an indoor cycling pioneer), engaged Walters-Storyk Design Group for the acoustic and isolation design of a broadcast-quality production facility with studio lighting and systems integration. The resulting Production Control Room (PCR) and 60-bike TV Studio is a key component of the 8000 square foot complex. Located at 140 West 23rd Street in NYC, Peloton Chelsea also features spa-quality ambience, a refreshment lounge and, a sports fashion retail shop.

“Peloton presented us with a multi-faceted assignment,” reports WSDG Principal/ Director of International Relations, Sergio Molho. “They required a state-of-the-art production studio to stream live (and recorded) indoor cycling classes to Peloton enthusiasts around the globe. The studio had to be technically flawless and aesthetically striking. Users will enjoy it in operation through the global Peloton Cycle video network.”

WSDG Project Manager Joshua Morris, emphasizes Peloton management’s deep concerns about sound leakage. “Music and instructor audio levels have to be inspirationally loud for this type of installation, and the complex is built on the ground floor of a mixed use business/residential wood framed building,” Morris says. “The neighbors living directly above the cycling classes had to be isolated from intrusive sound. This was achieved via recording studio-style, room-within-room construction for the 1500 sq. ft. Indoor Cycling/Streaming Studio. The Peloton team did their homework and were fully aware of WSDG’s expertise in this area.”

The Peloton production facility introduces a new level of broadcast quality video through the Internet. The space is tailored to enhance the image quality of the webcast while maintaining the requisite fitness ambiance for the in-house indoor cyclers. The 300 sq. ft. Production Control Room sports a state-of-the-art Newtek Tricaster production switcher and a Telemetrics robotic camera controller connected to 3 Sony PTZ cameras and a Telemetrics track and PTZ camera which provides high end and ultra steady camera moves and shots. PCR video display is provided by two 55” LCD monitors. The audio system is run by a fully-automatable Biamp Nexia console coupled with a Martin Engineering DSP, Genelec monitor and Sennheiser wireless microphones. The lighting system is controlled by LightJockey™ via a Windows-based USB to DMX interface. Ipod docks and a full-blown Nexo line array complete the equation in the Indoor Cycling Studio for unrivaled audio quality from the beginning to the end of the chain.

Peloton CEO and Co-Founder John Foley remarked, “Our goal was to ensure our on-site classes of crystal clear audio and, to provide our at-home constituents with Network-quality audio and video streaming. We were also committed to being good neighbors and, to protecting building residents from intrusive sound from our studio. WSDG has designed broadcast studios for ESPN, WNET and MTV Latin America. They’ve provided exemplary acoustics for such performance venues as Jazz At Lincoln Center and 54 Below, and their recording studio clients include Jimi Hendrix, Alicia Keys and Bruce Springsteen. We knew we were in good hands, and we are confident that our on-site, and at home, enthusiasts will benefit greatly from our efforts to provide them with the ultimate in fitness connectivity.”

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Photos: 1 Peloton Indoor Cycling Studio
2 Peloton Production/Control Room
3 Peloton Chelsea Exterior

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 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, LA, Miami, Buenos Aires,Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St,. Petersburg and Mumbai.

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SHOREVIEW DISTRIBUTION KICK’S OFF 25th ANNIVERSARY

Continuing Role As Select Sony U.S. Distributor

FOXBORO, MA: In September 1989, Luke Furr (then VP of Lake Systems), was standing on a beach in Florida when Sony called. They were changing their ‘go to’ market and wanted to start using reps, “Do you know anyone?” they asked. Without hesitation he said “What about me?” The rest is history. Today he is celebrating the 25th anniversary of his Shoreview Distribution Inc., national sales organization. A key to his success has been working with Sony Electronics in the U.S. as a select distributor for all its professional audio and video products. “Sony was our first client,” Furr says, “We’ve grown our roster to include a number of major manufacturers, but maintaining our relationship with Sony for all these years is a special source of pride.”

Shoreview’s positive trajectory has been marked by productive relationships with Revolabs, JVC, Pioneer, Toshiba, Tascam, Ricoh USA, Crane and many other stellar brands. The firm’s nationwide sales team constantly solidifies the success of those alliances. A home office staffed by career employees with an average 12+ years on the job, provides indispensable backup support. “We have always focused on application oriented sales, information, competitive pricing and, on delivering the gear in a timely fashion,” Luke Furr says. “Our field reps are skilled educators and trainers who know the products because they use them. We all share a genuine sense of family with our clients and our manufacturers.”

Starting off with the traditional ‘garage-based business,’ Furr’s early sales focused on the recording and performing gear he used in his music career. His ability to grasp the functionality and value of a rapidly expanding arsenal of new products proved a major asset. “As manufacturer R&D teams began turning out innovative digital gear and ‘must have’ new tools, we found ourselves in the midst of a technology explosion,” Furr says. “Simultaneously, a number of savvy young men with an aptitude for using, explaining and selling this next generation equipment gravitated to us. We built a great sales team!”

Case in point, Rory Caponigro joined Shoreview in 2001. Thirteen years on, he is national sales manager, supervising a crew that ranges from his own Tri State turf to skilled reps all over the country, “I watched Luke Furr in action, and felt very much in synch with his sales approach, his sense of urgency, and his scrupulous follow through. Luke inspires our team with a genuine sense of commitment,” Caponigro says. “Clients want information quickly. Not just on pricing, but on product availability and training. Our systems and technology deliver this.

“We’re also providing an indispensable service to the manufacturers who have now trimmed their in-house sales. And, we’ve greatly expanded our services,” Caponigro asserts. “We’ve worked with Sony’s Audio and Video divisions on such major projects as the Patriots Gillette Stadium, Madison Square Garden and Yankee Stadium installs. We’ve collaborated with systems integrators on projects for Adelphi and Penn State Universities, and we’ve assisted live sound companies for tours by groups like The Rolling Stones. These assignments are extremely gratifying, and the compensation is not just financial. There is a real sense of accomplishment in our work.”

John Kaloukian, vice president of sales, Professional Solutions of America, Sony Electronics remarked, “Shoreview has been a select distributor for Sony’s professional audio and video products for 25 years. The fact they are in the select group of distributors we work with means that we chose them for very specific reasons. They are very knowledgeable of Sony’s product lines. Basically, they are a turn-key, one stop shopping resource for resellers.

“Shoreview’s strength is that they can act quickly to meet the market’s needs,” Kaloukian concludes. “They are highly responsive, flexible, and able to adapt easily to customers’ evolving requirements. For example, special terms or custom packing, and, they get the job done with minimal red tape. They are one of our closest links to the market.”

“We wouldn’t be celebrating our 25th Anniversary without the commitment and enthusiasm of our home office and field rep team,” Luke Furr concludes. “Sales Manager Rory Caponigro, Regional Sales Managers: Mark Rehfuss, Dan Drees, Curtis Harris, Warner Swain, Bo Murgo and Bert Shaffer, our long time Office Manager, Lynn Snow, and a host of other super professionals keep the company running at peak efficiency. AND, they generate a positive vibe that flows throughout the day. We all share the good fortune to be doing the work we love and working with the people we like. We look forward to the next twenty five years!”

Photo: Shoreview Distribution Inc. founder Luke Furr (l) with
National Sales Manager Rory Caponigro

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Celebrating their 25th anniversary Shoreview Distribution is exclusive national distributor for all Sony audio and video products. Shoreview also represents such major manufacturers as: Revolabs, JVC, Martin Pro, Toshiba, Tascam, Pioneer, and Ricoh USA. Shoreview is located at 69 Elm St. Foxboro, MA 02035 (781) 784 1144.

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SONNOX SPONSORS PUREMIX MIXING CONTEST

OXFORD UK: Sonnox is sponsoring a major mixing contest, coordinated by PureMix. Co-founded by Guillaume Chadaillac and leading producer/engineer Fab Dupont, PureMix specializes in advanced audio tutorials. Their ‘virtual studio assistantship’ is designed to help aspiring engineer/producers hone their creative mixing skills via online tutorials.

“We’ve had a long-term working relationship with Fab Dupont, and have frequently engaged his considerable demo skills at various tradeshows around the world,” remarked Sonnox Sales & Marketing Manager Nathan Eames. “Sonnox fully supports PureMix and its drive to help others maximize their creative potential. We’re glad to be sponsoring their current mixing contest by providing the three winners with our Essential Bundle. It’s a great opportunity to access NYC-style, professional sounding tracks and have fun mixing them!”

Open to any aspiring producer/engineer, the contest features a mix of EMW Music Group artist Amber Skye’s recording of Howlin. Contestants are invited to remix the production in their own style and upload their mix of the stems to the PureMixCloud on or before June 1st 2014. The PureMix team will select the three mixes they like best, and the winners will each receive a Sonnox Essential Bundle, containing the Oxford EQ, Dynamics, Reverb and SuprEsser plug-ins.

To find out more, and enter the contest click here…

Photo: PureMix Mixing Contest promo

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

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SONNOX POSTS VIDEO FROM PRO LIGHT & SOUND SHOW

OXFORD, UK: Following a successful Pro Light & Sound Show in Frankfurt last week, Sonnox has posted a 4 minute video highlighting Avid’s enthusiasm over the Sonnox AAX DSP plug-ins now available for Avid’s revolutionary S3L live console.

Watch video here: http://www.youtube.com/watch?v=aD751Wz4uTI

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