US audio and visual content creation collective NoiseHouse has completed construction of Studio B, bringing a new Dolby Atmos mixing room designed music production to the Irvine, California-based facility. This joins Studio A and Studio C as Genelec-equipped set-ups featuring The Ones Active Monitors.
Founded in 2010 by CEO Daniel Bailey, Irvine, California-based NoiseHouse specialises in music programming and production, delivering dynamic radio shows, DJ mixes, and immersive productions for some of the world’s most renowned DJs, artists, brands and venues. Through the promotion and syndication of programming to more than 90m listeners across 120-plus countries, NoiseHouse is an unrivalled audio and visual content creation and music programming collective.
Bailey has consistently favoured Genelec, equipping each NoiseHouse studio with Genelec monitoring. Today, Studio A features a stereo configuration with two 8341A monitors and a 7360A subwoofer, while the new Studio B serves as the facility’s Dolby Atmos room, equipped with 11 8341A monitors in a 7.1.4 immersive set-up. Studio C mirrors the Studio A configuration with a matching pair of 8341A monitors and a 7360A subwoofer. This approach ensures consistent monitoring across rooms, allowing the NoiseHouse team to move between stereo and immersive projects without compromise.
Measuring approximately 20ft by 15ft with a 10ft ceiling, Studio B is engineered to provide an optimal acoustic environment for spatial mixing to meet Dolby’s specs for the room. A floating floor reduces structural vibrations and eliminates resonance, and walls are isolated to provide an accurate listening environment. The room’s acoustic treatments further improve clarity, spatial imaging and depth for Atmos music production, postproduction work and other immersive formats.
The room was designed and built by NoiseHouse lead engineer Taylor Jaymin, with support from collaborators Andrew Truong and Scott Campos. The planning phase took six months and included detailed layout design, gear selection and material sourcing. Construction was completed in three months. Gear procurement was handled in collaboration with Michael Duncan at Sweetwater and Ryan Coomer at Vintage King Los Angeles.
‘Our Genelec system was purchased to elevate the accuracy and consistency of our monitoring across immersive and stereo formats,’ Bailey says. ‘With the growing demand for spatial audio production, we needed a system that could deliver precise imaging, transparency and reliable translation across different playback environments. Genelec’s Smart Active Monitoring [SAM] technology allows us to make critical mixing decisions with confidence. When deciding on an immersive format, we chose Atmos for Studio B because it’s the industry standard for immersive audio in music, film and gaming. Its flexibility across playback systems and broad support from streamers, labels, and hardware makers make it the most accessible and future-proof format for spatial production.’
NoiseHouse’s system is built to support a diverse range of clients and projects, from high-end music production and immersive mixing to film, TV and gaming audio. ‘As spatial audio continues to grow, it’s being embraced by artists, producers and engineers creating dynamic, immersive experiences,’ Bailey says. ‘It also offers an ideal solution for brands and content creators seeking advanced sound design for commercials, virtual reality and interactive media. Whether mixing in stereo, Dolby Atmos, or producing a full-length Atmos DJ mix, this set-up delivers the accuracy and consistency required for professional-grade results.’
For Dolby Atmos mixing and mastering, the studio uses Audient’s Oria immersive audio interface and monitor controller, which integrates with the Dolby Atmos Renderer and supports downmix monitoring. Pro Tools, Studio One and Cubase serve as the primary DAWs for mixing, while Ableton remains the preferred platform for production. The studio is also expanding its outboard gear line-up with the addition of an SSL Bus+, Black Box HG-2 Stereo Analog Mastering Processor, Tube-Tech CL 2A Compressor and a Maag Audio EQ4M Mastering EQ.
‘Our new Genelec system elevates the accuracy and consistency of our monitoring, whether we’re producing traditional stereo content or fully immersive Atmos mixes,’ Bailey says. ‘Genelec’s Smart Active Monitoring technology ensures we can make critical decisions with confidence, knowing our mixes will translate perfectly across playback environments.’
At the heart of NoiseHouse’s creative output, a team of producers, engineers and visionaries rely on Genelec monitoring. Daniel Bailey spends a good deal of his time in Studio C, where he produces radio shows, DJ mixes and curated content for Insomniac Radio with consistent accuracy and impact. Rachel Purcell, Head of Operations, serves as the backbone of the organisation, overseeing day-to-day logistics while driving production quality across departments. Her personal set-up includes two Genelec 8040A monitors and a 7360A subwoofer, which she uses to review audio/video content, curate music programming and ensure every final cut aligns with the NoiseHouse vision.
In Studio B, Taylor Jaymin, Lead Dolby Atmos Engineer, leads immersive audio production with a focus on Atmos mixdowns, original music and live audio recordings. His work is key to NoiseHouse’s work, supporting projects that range from artist collaborations to spatial mixes for Insomniac Radio. Studio A is home to Lead Producer Bryce Sorensen and Producer Adam Sheridan – two creative forces who craft original productions, DJ mixes and music curation for a wide range of artists.
Since its commissioning, Studio B has seen a number of different projects completed, including Anyma’s ‘Hypnotized (John Summit Remix)’, Joel Corry’s ‘Tears On My Piano’, Dombresky’s ‘It’s A Party’, VNSSA’s ‘Grindhouse,’ and a 60-minute Dolby Atmos DJ mix of Vintage Culture’s Promised Land album.
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