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The Oldest Boy


Sarah Ruhl’s The Oldest Boy tells the story of Tenzin, the toddler son of an American woman and a Tibetan man who is the reincarnation of a high Buddhist teacher.

Designing the sound and the audio system to deliver it at its Lincoln Center Theater’s Mitzi E Newhouse Theater 3 premiere posed its own challenges to Sound Designer Darron L West and New Jersey-based theatrical sound specialist Masque Sound. The first was the design of the stage itself...

Yamaha AFC3 solves Riksteatret acoustic


Staging shows in 70 venues around Norway – to ensure that nobody has to travel for more than an hour to one of its productions – Norway’s national touring theatre develops and previews its productions in two venues at the Nydalen complex in Oslo.

Established in 1949, Riksteatret has its headquarters is in Oslo’s Nydalen district where the 300-seat Store Gull (Large Gold) and 120-seat Lille Gull (Little Gold) theatres host these productions. Formerly a television studio, Store Gull has a very dry acoustic response, the reverb time being as little as 0.56s – uncomfortable for both actors and audiences...

The Girl from Nagasaki


Retelling Madama Butterfly for his directorial debut, celebrated photographer Michel Comte fared well at this year’s Sundance Film Festival with The Girl from Nagasaki. Telling the story of romance and loss through a Nagasaki survivor married to an American astronaut, the feature-length film won plaudits both for its visual style and structure and the work of sound designer Maurizio Argentieri.

The project pushed Argentieri’s skills and the capabilities of his DPA microphones to the limit.

La Mansión takes lead role on Brazil recording scene


A ground-up build by the Malvicino Design Group, La Mansión has become one of Mexico’s premier commercial recording facilities after making the move from private use to commercial.

A multi-room facility serving the likes of Strokes and Regina Spektor producer Gordon Raphael Grammy-winning sound engineer Benny Faccone and various music groups and artists, it now offers four recording environments – with a new SSL Duality analogue mixing desk/DAW controller in, its largest rom, Studio A.

Arboreal Lightning


Transforming the former locomotive shed into an interactive art space, London’s Roundhouse recently hosted the Arboreal Lightning sound and light installation commissioned by singer-songwriter and composer, Imogen Heap. 

The work combined interactive visuals and Ambisonic sound, that supported artist performances and the audiences’ own experience. 

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Case Study: Question de Son

Question de Son

Recreating the vibe of classic recording studios of the 1970s posed both acoustic and monitoring challenges for Question de Son studio owners Jordan Kouby and Frederic Vectol.

‘Many recording studios are trying to face the record industry crisis by simplifying their installations – gear, maintenance, less investment, essentially in-the-box mixing. At Question de Son, we resolutely try to go the other way.’

 

Hrafn: Conversations With Odin

HrafnFor his latest project, pioneering sound recordist and sonic sculptor Chris Watson turned his attention to the seldom-heard phenomenon of ravens gathering to roost, creating a unique audio experience deep in Northumberland’s Kielder Forest.

Led by a guide sharing ancient raven lore, the audience entered the deepest part of the wood where, with darkness falling, the air suddenly filled with the sound of two thousand birds arriving in the canopy overhead...

 

The Church: The Resurrection of a Recording Studio

The ChurchMore than the cocktail bar, more than the architecture, more even than the vintage instruments on display or the immense Neve mixing desk that dominates the room, there is a buzz here. Even among the prestige recording studio parties of past years, this feels special.

The church setting is somehow significant... something precious has been saved and everyone present knows it.

 

Case Study: 160 Massachusetts Avenue

160 Massachusetts Avenue centreClaiming to be  ‘one of the largest, most progressive and versatile professional audio teaching/production/performance complexes in the US’, Berklee College of Music has opened its 160 Massachusetts Avenue centre in Boston.

More than three years and US$100m in the making, the facility occupies four floors in a striking, 16-storey building housing ten studios from the Walters-Storyk Design Group.

 

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