The studio I designed for Kasey Phillips’ Precision Productions in San Fernando, Trinidad is the set for this music video. Some things to notice: Acoustic Ramps in the rear of the room. A slotted poly diffuser/absorber on the rear door. The only 2″ tape machine in Trinidad is also in the rear of the room. The recording session looks way more fun than what I used to!
We converted from a noisy oil-fired furnace to a gas boiler this summer. When the heating season started, we were unpleasantly surprised to be woken from a sound sleep the first time the new boiler fired up. We called our plumber, and the boiler manufacturer, who both told us the boiler was just fine. Fortunately, we found Hendrik Gideonse and XIX Acoustics. Hendrik had a diagnosis on his first visit, and he quickly put together a plan of action – involving both plumbing changes and acoustic isolation. He coordinated all of the work, and personally installed isolating feet underneath the boiler which stopped any vibrations causing unwanted noise. Thanks to Hendrik, we now have a silent boiler, and most importantly, we’re sleeping through the night! -Joanna Revelas, Cambridge, MA.
Custom manufactured isolation spring and plate prevents vibrations from the boiler’s burners from entering the structure of the condominium.
Lou Clark of Sonic Space designed Electric Tree House for engineer Alec Francesconi in Bedford, MA. Lou specified for Acoustic Ramps and used them in an extremely creative way as part of a large integrated bass trap on the rear wall of the control room. The picture from Mix shows the front of the room. Here’s the rear of the room:
The photo isn’t quite as fancy as the one in Mix, but it does show a very interesting approach to using both diffusion and low frequency absorption. Go Lou!
I have known Andy Hong since I worked for him when we were at Reed Elsevier in the late 90’s. Andy’s Kimchee Records was recording and/or putting out some of the best of Boston bands like Karate, Heidi Saperstein, Tugboat Annie and the Willard Grant Conspiracy. At the time I was working with Andy, he was recording “In My Living Room” a compilation of songs recorded…in his living room. Andy advised me when I was at the beginning of building my home studio. Andy is the Gear Review Editor at Tape Op, so when I had developed my Acoustic Ramps into a real product, I got in touch to see if he would be interested in trying out a pair. The demo went great and he ended up reviewing the Ramps and buying 2 standard ramps and two custom made clear plexiglass Ramps to be placed in front of his window to the live room. Here’s two pictures of the Ramps in place:
These custom clear acrylic ramps are stopping the reflection off of the studio window into the live room. The reflection is controlled and scattered instead of being absorbed and deadened.This photo shows a pair of standard ramps handling the early reflection point on the left side. The right side is being taken care of by the clear acrylic ones.
“I met Hendrik at a pro audio expo [Parson’s Expo], and as audio people often do, we got to talking – specifically, about my control room acoustics (which, admittedly, I can be a little skeptical about). Even so, I felt very comfortable in our conversation and asked Hendrik to evaluate the space I mix in. If I would ever perceive and overcome acoustical limitations, it would begin with an objective and thorough evaluation of the room. This Hendrik did, producing more data and charts than I would have expected. As a result, I have made some modest adjustments that have clearly enhanced the width and depth of the three dimensional space between my monitors. ” –Studio HOV | Methuen, MA | 978-807-5739
XIX Acoustics
