Oct 1, 2012 9:00 AM, Mix, By Tom Kenny
CLASSIC FACILITY RETOOLS FOR THE NEW MUSIC BUSINESS
The plan wouldn’t really be complete, or all that new, if Wisseloord hadn’t added mastering/authoring capability. “All of the spaces and all of the elements have to work together,” Reynolds says. “That is the core of our business model. It starts with the creative team, and we consider the creative process in the widest sense—writer, artist, engineer, producer, video director, graphic artists. They all play a role. Then that creative process is supported by the technical and service elements.”
Mastering may be the last link in the recording process, but it’s the first step in the delivery chain. With the team’s experience in high-resolution format development, and looking ahead to alternate means of distribution, it was deemed crucial that mastering be kept in-house. So when they knocked down Studio 3 and its control room, they put in two spacious mastering rooms, well-equipped and well-positioned for a multiformat world, from vinyl to mobile. “We did have the luxury of space,” says Proper, “which is fantastic for the sound, especially the lower frequencies. Jochen’s treatment of the rooms is very even and non-modal as you walk around and listen. That’s more important than you might think when you’re with a client. ”
Mastering 1 is larger (roughly 32x20 feet with 10-foot ceiling) with a slightly bigger console and more outboard gear to accommodate 5.1 mastering in analog. Mastering 2 will handle stereo analog and the more DAW-oriented surround projects; it also has the two cutting lathes for vinyl and DMM.
As in the recording rooms, the equipment packages are essentially identical and based around a few key manufacturers: SPL mastering consoles and EQs; EgglestonWorks Savoy monitors, powered by Krell 400e mono-block amps; PMC AML 2 reference/height monitors; PrismSound converters; Lavry converters; Antelope sync and clocking; and all-Grimm cabling.
AND NOW, THE FUN PART
Well, the facilities are in place, so the real transformation at Wisseloord Studios can officially begin. The plan to create a new model is ambitious, reaching far beyond the physical studios and into production and distribution. It won’t always be easy, as the partners well know, but they seem well-positioned for the unlimited-bandwidth, high-res delivery systems that are coming soon.
“The essential elements will always still be: finding new talent, having the money and skills to develop it, making enough money to feed everybody, and then keep the cycle running,” Reynolds concludes. “That does not change, but the elements that make up the process are continually changing, so we have to change, too.”
Acceptable Use Policy blog comments powered by Disqus