The Studio
Diemel Productions Studio Profile | The Room
The design specifications for the control room were set to achieve a highly accurate monitoring environment.
Studio design consultation by ASC Acoustics :: http://www.asc-studio-acoustics.com/
Acoustic treatment materials and measurements by :: http://www.atsacoustics.com/
| Panels Added | Resulting Reverb Time – RT60 | ||||||
| Square Feet | Count | 125Hz | 250Hz | 500Hz | 1000Hz | 2000Hz | 4000Hz |
| 129 sq.ft. | 16 panels | 0.28 | 0.40 | 0.25 | 0.25 | 0.23 | 0.20 |
The Monitors | LSR4326p Powered 6.25″ two-way system
Great mixes start with an accurate monitor. The 4300 Series incorporates JBL’s Linear Spatial Reference Technology that matches the exact geometry of the 4300’s waveguide design with its transducers and crossover network to optimize the frequency response at the mix position. To ensure that this incredibly accurate monitor delivers superb mixes in the room you’re working in, JBL’s next generation RMC™ Room Mode Correction system incorporates a powerful analyzer into each speaker that automatically analyzes and compensates for problems caused by low frequency standing waves and proximity to boundaries. Truly putting technology to work, all of this is accomplished by simply plugging the LSR4300 calibration microphone into the speaker and pushing a button. A JBL first, the LSR4300 meter provides a reference of the output from each speaker in the system. The results are a revolution in professional mixing: a calibrated listening environment where the monitors truly work in harmony with the room. This creates a stunningly clear and articulate sound stage enabling reliable mixes that translate faithfully to the outside world.
Firewire connectivity.
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In the world of digital recording, rich, warm sound is the holy grail. Renaissance Maxx delivers the warmth of vintage gear with the precision control of the digital domain. This is the classic Waves sound-heard on countless hit records and major motion pictures worldwide. |
- IR-L Convolution Reverb
IR-L delivers the same great sound and impulse responses as Waves IR1, with streamlined controls for simple, efficient operation. - Waves Tune LT
Waves Tune LT is a special edition of Waves Tune, which packs more pitch-transforming power into a single, easy-to-use plug-in than anyone ever thought possible. - Renaissance Channel
A precision channel processor combining the best and finest EQ, compression, limiting and gating. This processor takes the concept of channel insert to the limit and beyond. - Renaissance EQ
The highly-praised double-precision resolution vintage EQ, featuring distinctive emulation of classic analog EQ sound. - Renaissance Bass
A second generation of Waves’ popular MaxxBass offering a simlified interface. Achieve that warm, fat and massive low end with few adjustments and NO distortion. - Renaissance Reverberator
Classic sound and vintage-style controls for the demands of everyday production. Rich reverb tails plus early reflection system gives the density and texture you deserve. - Renaissance Compressor
Exceptional compressor with vintage Opto modeling, plus the exclusive Electro Mode, and an L1-style limiter! - Renaissance Vox
A great compressor, limiter and gate. Increases perceived volume and stability for vocal and solo instruments. Brings vocals to the front of the mix! - Renaissance DeEsser
The next generation DeEsser, offering Adaptive Threshold Control, yielding more natural sounding results!
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IZOTOPE > Ozone 4
Izotope Ozone 4 is a complete 64-bit mastering suite in the form of a single plug-in. The Ozone 4 modules consist of a Paragraphic Equalizer, Mastering Reverb, Loudness Maximizer, Multiband Harmonic Exciter, Mulitiband Dynamics and a Multiband Stereo Imager. Analog-modeled processing combined with linear phase precision. Powerful mid/side processing.
Ozone includes a paragraphic equalizer that combines 6 bands of adjustable notch filters and low/high shelf filters. A Matching EQ mode allow you to capture spectrum snapshots of reference mixes then automatically adjust your project’s EQ with that spectral curve. Ozone 4 adds powerful Mid/Side processing letting you EQ the center of the stereo image separately from its edges.
Mid/Side processing has been a trade secret of many mastering engineers for years. Ozone 4 makes this powerful approach to processing audio more accessible than ever before.
With mid/side mode enabled, Ozone converts the stereo information coming into the plug-in into mid and side signals, letting you work independently with the center of the stereo image or the edges. The result? You can surgically EQ the mud out of hard-panned guitars while preserving the vocal and kick drum in the center of your mix. You can add excitation or maybe a touch of room ambience to just the edges, and much more.
Ozone’s Paragraphic Equalizer, Multiband Harmonic Exciter, Multiband Dynamics and Mastering Reverb modules all incorporate mid/side modes. Color coding allows you to easily see mid and side settings superimposed. Ozone’s meters can also be used in mid/side mode.
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Hardware and Virtual Instruments
Access Virus TI Synthesizer
There are not many modern synthesizers which can claim to have shaped the sound of music — from electronica to soundtrack — as much as the Virus line of synthesizers has. The Virus is known as much for its flexibility and powerful sound as for Total Integration, our award winning way to interconnect a hardware synthesizer with your DAW.
The first Virus was released in 1997 and each new iteration has added more features more powerful hardware, and greater musical potential. That evolution explains why the Virus TI series is so sought after and why it receives such praise from owners, press, and fans all over the world.
Artists including Depeche Mode, Madonna, Linkin Park and the Prodigy tour with a Virus-based setup in 2009. Producers such as Sasha, Pete Tong, Roger Sanchez and Dr. Dre consider the Virus a core part of their studios. Composers such as Hans Zimmer, James Newton Howard, John Powell and Mark Isham are enthusiastic Virus users, utilising its signature sound for their Hollywood blockbuster soundtracks.
Native Instruments Plugins and Effects
Similar to hardware samplers, there are three levels to Kontakt’s functionality: Samples, Instruments, and Multis.
Customized sound mapping for the complete range of a MIDI Keyboard. Mapping is possible “per key” (assigning a sound to a key of your MIDI Keyboard) or “velocity range” (assigning sounds to different velocities of a single key).
Sampling Engines: Regular (pitch alters the speed of the sound playback), Time Machine (regardless of pitch, time remains constant via an application of Granular Synthesis), Tone Machine (FFT-based manipulation of formants, and pitch). Every sampling engine features artifacts with extreme settings thereof, in terms of audible noise (granular synthesis is known for soft clicks during the playback of ‘chopped’ sound with extremely low or high settings, tone machine’s FFT algorithm may generate high-frequency noise due to digital applications of the transform).
“Hardware Rack” interface for effects and modules (vertical top-to-bottom architecture). It consists of Modulators (logic signal) and Effects (sound-altering algorithms, parameters of which may or may not be controlled by modulators). The Modulators consist of: Velocity, Release Velocity, Key Position, MIDI Controller, Poly and Mono Aftertouch, LFOs, Envelope, Glide, Envelope Follower and Step Modulator. There are 8 groups of effects: Filters, Distortion, Saturation, Lo-Fi (sound quality reduction), Compressor, Stereo Enhancer, Amplifier and “FX sends.” While most of the above are self-explanatory, the filter bank is rather extensive. In particular, there are 17 filter types in original Kontakt: LP 1 pole, HP 1 pole, Bandpass (fixed Q), LP 2 Pole, HP 2 pole, 2×2 pole bandpass, 2×2 pole notch filter, LP 4 pole, HP 4 pole, LP 6 pole (36db per octave), 3×2 pole multi mode, 1 band parametric eq, 2 band parametric eq, 3 band parametric eq, Phase filter, Vowel A, Vowel B.
Spectrasonics Trilogy Total Bass Module
It’s a programmable, sample-based Virtual Bass Module software plug-in, which combines a massive 3.1 gigabyte core library with a powerful, yet easy to use interface and synth engine for manipulating the sounds, and creating your own original patches.
Digidesign A.I.R. Transfuser
Whether you’re looking to track or perform something that grooves, remix rhythms, mash-up something funky, or breathe new life into your existing loop libraries, Transfuser™ offers a heap of innovative tools that’ll have you creating, controlling, exploring, and experimenting with music and loops in brand new ways you never thought possible.
Features
- Easily create, tweak, arrange, and perform grooves on the fly right within Pro Tools
- Offers unique audio tools that let you creatively:
- Beat-sync, auto-slice, stretch, pitch, tag, and resample grooves in real time
- Automatically convert loops into MIDI patterns/drum kits
- Replace sounds in existing loops without stopping playback
- Musically intelligent randomization lets you instantly explore inspiring groove variations at the click of a button
- Supports full drag and drop of Pro Tools regions and audio files from your computer browser
- Comes with nearly 2 GB of loops and phrases to get you started
- Includes 20 real-time effects that are ideal for electronic, hip-hop, and dance music creation
- Supports WAV, AIFF, ACID, REX 1 and 2, and Apple Loops audio files
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Misc Studio Equipment
- Power conditioning by Furman
- Behringer PX3000 48 point balanced patchbay
- Blue Snowball USB Condenser Mic
- Korg Kaoss Pad KP2
- SM58 x 2
- SM57 x 2
- M-audio Axiom 25 Midi Controller