Dubidub’s CEO Ami Offir pictured in the company’s 7.1.4 immersive room

Reflecting demand from international clients, Tel Aviv-based dubbing and postproduction facility Dubidub Studios recently moved to create the first professional Atmos studio in Israel – and has done so using Genelec monitoring. ‘Atmos today already completely dominates the theatrical industry,’ says Dubidub CEO Ami Offir. ‘All major companies in the world would probably nowadays produce their content in Dolby Atmos, not in 5.1 or 7.1.’

Dubidub has upgraded its main studio, creating a space now named The Dream Room. To ensure the space met Dolby’s specifications, Offir enlisted the help of acoustic consultant David Huja, who runs DHA Acoustic Design.

‘Originally it was a 7.1 studio with a flush mounted monitoring system,’ Huja says. ‘Ami needed to have an Atmos studio, so we decided to upgrade and install a new monitoring system.

‘After hearing a lot of speakers, I decided that Genelec gives you the confidence that what you hear – if it sounds good – will sound good everywhere, because it’s so detailed,’ he continues. ‘Genelec monitors give you both truth and impressive power, and these are the only speakers I know that can do it.’

Dubidub%u2019s immersive room features 8351, 8331 and 8330 Smart Active MonitorsThe system was supplied by local Genelec partner Kilombo and based around The Ones family of coaxial monitors. Three 8351 models were installed in the LCR positions, with four of the more compact 8331s for surrounds. The height channels comprise four 8330 two-way monitors. The pre-existing subwoofers were retained by the studio to handle LF duties.

‘The even listening field is achieved by the coaxial drivers in all Genelec The Ones models – it’s very good, it’s very wide and it’s very balanced,’ Huja reports. ‘The way the sound spreads from these coaxial speakers is very special. And due to the unique way of distributing the three parts of the energy: low, mid, and high, you really feel comfortable when moving to the sides, sometimes even back and forth.’

One challenge came from the fact that the studio wanted to install a flush-mounted solution. ‘In order to flush mount all the models, we had to create some custom accessories,’ Huja explains. ‘We had to make some changes to the back of the wall to take care of the heat from the amplifiers, which are built into the monitors. The flush-mount solution was Genelec’s suggestion, and they sent me all the details and DWG files, so I could make sure it would fit into the wall.

‘We ordered Genelec’s standard flush mount kits for the 8351 LCR monitors but Genelec’s Aki Mäkivirta and I had to plan custom flush mountings for the 8331 surround monitors, because such mountings didn’t exist,’ Huja says. ‘The mountings also had to have front openings, which allow the bass energy to come from the rear reflex port to the front.’

With this level of customisation, GLM calibration software also proved its worth for Dubidub. ‘The GLM system is a great tool,’ says Huja. ‘It helps you to get the best results from the monitoring system. Otherwise, you might need very expensive and complicated processors to achieve the same DSP functions.’

With the upgrade complete, the reaction to the new immersive space has been very positive. ‘The Dream Room is built to a very high standard,’ says independent consultant, producer and mixer, Yoad Nevo. ‘The way the speakers are embedded and acoustically blended in the room creates a very transparent environment where you don’t feel like you’re looking at speakers and hearing different sound sources. The worst thing you can do, especially in surround, is to turn your head and look at the speakers. That’s what you always want to avoid as a mixer. The Dream Room is very accurate sonically, and it’s just a great space to be in.’

More: www.genelec.com

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