Once Hungary’s largest indoor railway complex, Eiffel Art Studios are now a new logistics and art centre for the Hungarian State Opera. At the heart of the transformation is Eiffel Hall, accommodating workshops and rehearsal spaces, as well as housing a extensive recording facilities. And while the space pays tribute to both the 200-year history of Hungarian opera culture and the venue’s industrial past, it also draws on modern audio technology, including Genelec monitoring.
The decision to build a recording studio was an unusual one such a venue, but the thinking came out of the devastating effects of Covid-19 on Budapest’s recording studios. It also gave the State Opera the opportunity to create exactly the space it needed, resulting in a colossal recording complex.
‘We’re able to record from each room in the studio,’ explains Kondás Ferenc from the Hungarian State Opera. ‘The studio has been designed so that you don’t have to go down to the big room for minor sound corrections. So, if a correction to a vocal or instrumental performance is needed, it’s happening right there. Or if an advertising voiceover or narration needs to be recorded, it’s also happening there – we wanted everything to be easily accessible.’
The 5.1 surround capable recording space is equipped with five Genelec 8341 three-way coaxial monitors and a 7370 subwoofer in the control room, run digitally via an 9301multichannel interface. Additionally, a pair of 8040 two-way monitors are used with an iMac for quick recordings in the control room, while another stereo pair of 8040s are employed in the live area by the conductor and musicians when required.
GLM calibration software was employed to individually optimise the 5.1 monitoring system in the Friscay Studio for different listening positions.
‘We measured using GLM in three different places – the sound engineer’s position, the musical director’s position and in the place where the composer or conductor would be listening,’ Ferenc says. ‘The conductor or composer can’t fit with the score beside the sound engineer, so they sit behind them, and that’s why this third set-up was created. In the studio we’ve created 2.0 and 5.1 settings in GLM, but for recordings and live streams we normally use the 2.0 setting.’
Building a studio of this stature in a busy city presented challenges, particularly as there is a two-way tram track runing directly outside the building. ‘The hardest part was finding a solution for the low frequencies, and having trams run outside puts us at a disadvantage,’ Ferenc says. ‘The team at our acoustic consultants Arató Akusztikai Kft solved this problem by building a box-within-a-box system. Under the inner floating floor is a rubber layer, and the inner light structure wall is fixed to the main wall with vibration isolation elements. As a result, this building system excludes the noise of the road and trams.’
The end result is a breathtaking set-up for both the install team and musicians: ‘Even the conductors were surprised to feel the effect of what they were doing on the podium, and they could genuinely hear the result of their baton,’ says Ferenc. ‘The composers also heard more of their pieces than when they played the score in their mind and imagined how it was going to sound. But everybody was satisfied – one of the lead singers said that when he listened to his microphone played back, he could not only hear it perfectly, but he could also feel every vibration.’
Reflecting on the new facility, Ferenc says: ‘The Hungarian State Opera never had a studio like this before. The musicians and the sound engineers are satisfied, with lots of recordings and streams happening since the studio was completed. The act of creating a record isn’t about compromise. It’s about artistic freedom, which represents added value in the final product.’
