Forty years after qualifying as a Sound Engineer, Greg von Menge is finally doing what he always wanted: working on music and recording with his recently refurbished, second-hand ASP8024 Classic console. He built himself a large, stand-alone recording studio in his backyard to accommodate it – and the host of vintage synths & studio hardware that no longer fit in his original studio indoors – and now enjoys writing and producing his own music, alongside a smattering of commercial work.

It took four decades to get there though, as life took a very different turn for Greg when a serious motorbike accident put an end to his original dreams of live audio work. Based in Melbourne Australia, he started an art services & picture framing business to keep the bills paid. He never strayed far from his love of music however, continuing to write and record music from a small home studio, picking up freelance work for Australian broadcaster ABC and writing soundtracks for indie films and documentaries. He also kept his hand in with studio work by freelancing out of a commercial 24 track analogue studio.

“With over 80 channels at my disposal, everything can be plugged in at all times ready to record at the push of a button.”

In the intervening years, he has steadily accumulated a variety of analogue synthesizers, audio equipment and musical instruments, setting up a small home studio centred around an Audient Zen which he bought brand new from local Audient retail outlet, Awave back in 2010. “The Zen is a fantastic compact mixer with 32 channels at mix down. I love that you can flip the channels, hit the flip fader button and your 16 DAW channels are now on 16 faders,” he says.

His connection with Awave owner, Lewis Chiodo led to a fortuitous opportunity more recently. A 10 year-old ASP8024 which had originally been purchased in 2012 for the Victorian College of the Arts new studio was starting to show signs of wear and tear, so Greg managed to buy it for a song. “Electronically it was perfect except for a few LEDs on the meter bridge,” he says. Aesthetically it needed a bit more tlc. He stripped off the timber, sanded and re-stained it. All faders and knobs were removed and washed carefully with a toothbrush. Windex took care of the aluminium and then he opened up each bay to give it a vacuum. “It was actually very clean inside! When I put it back together it looked brand new.”

The large format console, which includes Dual Layer Control (DLC) and a patchbay, is now the centrepiece of his studio, taking the reins from his Zen. “It is a fantastic addition to the studio, everything revolves around the ASP8024. With over 80 channels at my disposal, everything can be plugged in at all times ready to record at the push of a button.”

“everything revolves around the ASP8024”

His setup in his new, purpose built studio includes over 24 vintage synthesizers and drum machines patched directly into the desk. He runs two Mac computers both with separate AD/DA converters; one is a Lynx 24 channel which acts as the multi track running Logic, Cubase and Reaper and the other is Dangerous Convert 2 and Dangerous AD+ running as a two-track recorder with Cubase and Wave Lab Pro.

Greg has an array of hardware compressors in the space, and numerous mics, guitars and bass guitars. Monitors are Focal Trio 11, Focal Solo 6 and Yamaha NS10, and the mastering chain is all patched to a Dangerous Liaison which is subsequently patched to the Audient patchbay. Greg explains, “The Audient console is effectively acting like a big router which gives me the flexibility to run all the synths live with midi and audio from the multi track and catch it on the 2 track. I think in America the process is called pitch and catch when mastering.

“ASP8024 is an inline desk and just like the Zen has the flip fader button, making it very flexible”

“I am fortunate that my console came with the patchbay,” he continues. “There are 24 – 8 channels D-Subs on the back of the console – super-easy. The ASP8024 is an inline desk and just like the Zen has the flip fader button, making it very flexible.”

Whilst refurbishing the desk, Greg took the decision to upgrade the ASP8024 power supply. “The original was still working fine, but I was told that the new model was virtually silent. They weren’t wrong! Anybody thinking of upgrading should, because it makes a big difference in a soundproof room.”

“the main thing about all Audient products is the build quality and reliability. My Zen has been switched on pretty much every day since 2010 – that’s 15 years without a problem”

Singing the praise of all his Audient gear, he continues, “I still use the Zen almost every day.  The main thing about all Audient products is the build quality and reliability. My Zen has been switched on pretty much every day since 2010 – that’s 15 years without a problem.

“There are so many things that stand out with Audient. I know I can turn on the ASP8024 console every morning and it’s just going to work every time. It’s low cost to run and uses surprisingly little power. It’s also very easy to use: well laid out with a very logical signal path. Best of all, it sounds great!”

ASP8024 Classic console: “low cost to run and uses surprisingly little power”

It has definitely taken a little longer than he anticipated, but Greg is basking in the fact that nowadays he is able to focus on his passion – writing and producing music. He does so along with Ben Coe, a talented composer, recording, mixing and mastering engineer – and Head of Broadcast and Digital at Arts Centre, Melbourne – that he met at Awave.

In between his private work, Greg has taken on a smattering of commercial projects including voiceovers, mastering work and sound design. When asked what he’s been up to, he waxes lyrical: “My last job was writing the soundtrack for a documentary film on the building of the Victorian Pride Centre in Melbourne. I’m also working on mastering some of my older soundtracks with Ben to put on my new SoundCloud and I’m currently writing music for an upcoming architectural documentary film.”

As for what’s coming up, he has quite the list. “I’m going to work on a sample library for Kontakt as well as some soundscapes. I plan to build a Foley studio next door to my main studio and produce a new sound to replace that seatbelt ‘ding’ on planes,” he laughs. He’s certainly making up for lost time. “I would love to build an Atmos studio incorporating the new Audient ORIA Immersive Audio Interface and Monitor Controller.”

“[ASP8024 Classic] is a fantastic addition to the studio”

Well Greg, we can’t wait to hear how you get on with all of that! Have a listen to what he’s been up to on Soundcloud and see what Ben Coe has been doing on YouTube here and here.

The post Sound Engineer’s Four-Decade Journey to Building His Dream Studio appeared first on Audient.

Audient was delighted to co-sponsor The Shadowmaker, a new show from Simon Shackleton which recently premiered at Denver’s Holiday Theatre – to a standing ovation. Created by the award-winning British producer and his filmmaker wife Chele Gutek, The Shadowmaker is the first of its kind show from an electronic producer, featuring live performance of songs from Simon’s new album of the same name.

“EVO SP8 is the perfect addition to the EVO 16 for my live shows” ~ Simon Shackleton, The Shadowmaker

Audient helped Simon enhance his audio setup with an EVO SP8, the 8 channel smart preamp with AD/DA. Pairing that with his EVO 16 audio interface, Simon now has sixteen channels of both inputs and outputs with EVO Expanded System.

“The EVO SP8 is the perfect addition to the EVO 16 for my live shows, where I need more than eight channels of audio going out to FOH,” said Simon. “It’s super simple to daisy-chain the two units using a pair of Optical Cables, and the sound quality of the SP8 is every bit as seamless and high-end as that of the EVO 16. With the extra eight channels that the SP8 gives me, I can give the front of house engineer way more control over my audio channels coming from Ableton.”

“the sound quality of the SP8 is every bit as seamless and high-end as that of the EVO 16”

Renowned for igniting dancefloors and festivals worldwide with his epic DJ sets as Elite Force, The Shadowmaker sees Simon – now a Denver resident – showcase his talents as a vocalist and keyboardist, accompanied by world-class drummer Jez Noble. Their live musicianship amplifies the show’s cinematic intensity, with Shackleton bringing echoes of Pink Floyd, Massive Attack, David Bowie and Thom Yorke to his new compositions of introspective electronica.

Part concert, part documentary, the show explores life-defining challenges – struggle and triumph, fear and joy, love and loss, hesitation and resolve. While anchored to Simon’s deeply personal experiences – from DJ antics to wrestling with inner conflict and eventually finding his emotional voice through music – it’s a universal story of navigating life’s chaos.

To follow, watch, listen to or read more about Simon Shackleton, as well as find out what he’s up to next, you’ll find him here: Website, Facebook, Instagram, YouTube, Spotify.

The post EVO Expanded System Powers Pioneering Live Show ‘The Shadowmaker’ appeared first on Audient.

For top-tier music production and recording in London, artists need look no further than Runway Recording Studios according to its owners. It’s a creative hub offering a choice of three writing/production studios, one of which now houses the brand new Audient ASP4816-SE console.

ASP4816-SE: “a desk which can meet the ever-changing creative environment”

Supplied and installed by studio installation specialists Arcadia Solutions, the compact console was chosen after meticulous research. Studio manager, Michael Ademosu explains, “We needed a console which suited our workflow but also provided the best musical results. We also needed to consider the additional recording hardware and the best solution which would ‘glue it all together’.” After consulting with his in-house engineers and taking advice from Arcadia Solutions’ owner, Gavin Miller, all roads led to ASP4816-SE.

“We wanted to create a space which is inspiring both aesthetically and technically to bring out the best in music creativity,” says Michael, who feels that his choice of desk has helped achieve this. He describes the standout features of his new British console: “We have a spacious live room, so the preamps were a major factor. We had heard nothing but glowing feedback regarding Audient preamps in general.” The Audient Console Mic Pres – famously used across the whole Audient line from flagship ASP8024-HE to the iD audio interface range – did not disappoint.

“amazing onboard mix bus compressor”

“It was those 16 mic pres, together with the quality of the EQ, the 48 inputs and the amazing onboard mix bus compressor that really sold it for us,” confirms Michael. Indeed, the Audient mix bus compressor features adjustable ratio and threshold controls, auto-release settings and a gain reduction meter designed to add weight, depth and warmth to a mix.

“We have a team of experienced engineers and producers dedicated to helping clients achieve the best possible sound offering expert guidance and support throughout the recording experience,” says Michael. “We also have cutting-edge equipment – including the newest industry-standard mics and DAWs – ensuring the highest quality recordings.” With the ASP4816-SE installed, Michael is confident that they now have “a desk which can meet the ever-changing creative environment that we offer here at Runway Recording Studios.”

“the preamps were a major factor”

Part of the Miloco Studios group, Runway provides a comfortable and creative atmosphere with lounges, kitchen facilities and high-speed internet to keep clients simultaneously productive and relaxed. Visit the website – or follow them on Instagram – to find out more!

The post Runway Recording Studios Adds ASP4816-SE To ‘Cutting-Edge’ Gear List appeared first on Audient.

There’s a classic ASP4816 console in les fauteuils rouges, a cosy recording studio in the south of France where owner Julien Lebart loves to record acoustic, jazz and pop music. Running a hybrid studio, he was keen to maintain a good workflow with Pro Tools, so spent a long time researching the right mixing desk for his setup. From the moment he bought his Audient, Julien knew he’d made the right decision.

ASP4816 “the preamps are awesome”

Julien commissioned bespoke studio furniture for his control room, roping in his friend, sound engineer Tom Chiesa to help build in the console, a DAW controller and a few additional mic preamps in the main worksurface. This way he has quick and easy access to Pro Tools (play, stop, rewind…etc) and the option to adjust levels of various tracks in the digital domain via the controller, whilst the ASP4816 is also in reach, doing all the heavy lifting of mixing audio in the analogue domain.

“It’s perfect for tracking a music band,” says Julien of the Audient desk. “The preamps are awesome – super clean but have ‘character’ if we push them up. The EQs are also incredible and certainly good enough to use before Pro Tools when recording. This saves so much time!

“the stereo bus compressor has something really special”

“I love to use the console for mixing too,” he continues, often noting that clients’ favourite mix is the first version – the one that he did with the console. “I use buses to compress the entire drum, for example. The stereo bus compressor has something really special.”

It’s not just the sound that lifts his heart, though – it looks the part too. “It really is a pleasure to see it when I come into the control room in the morning!” he says. In addition to the control room, les fauteuils rouges comprises three recording rooms with a much-loved Schimmel baby grand piano enjoyed by jazz and classical musicians alike.

Originally, les fauteuils rouges – directly translated as ‘the red armchairs’ – was owned privately by French singer, Cali, whose debut album l’amour parfait sold half a million copies back in 2003. Julien (who was also his pianist) has continued to work with Cali, producing, mixing and songwriting with him over the years.

For the last ten years, it has been a commercial studio under Julien’s command and a number of notable artists have passed through its doors – sitting metaphorically on the red armchairs! “We have the pleasure to record, mix and master famous French artists, including Eric Cantona, actor Tcheky Karyo, and of course a lot of others well known in France.”

ASP4816 ~ “It’s perfect”

To say that Julien is satisfied with his console is an understatement. “It’s perfect, I am a really happy customer!” he says. To find out more about les fauteuils rouges, visit the website or follow them on Facebook and Instagram.

The post Les Fauteuils Rouges: ASP4816 Analogue Charm Meets Modern Workflow appeared first on Audient.

An Audient ORIA Immersive Audio Interface and Monitor Controller has been installed as the ‘go-to’ monitor controller and sound card in Challow Park Studios. One of the first facilities to take advantage of ORIA’s ability to integrate with Dante technology, the Oxfordshire facility has used ORIA for all its most recent projects across a range of genres. “I find the sound quality astonishing on the analogue outputs,” confirms Will Biggs, the on-site producer and engineer, who has been overseeing their transition to immersive audio.

“the sound quality [is] astonishing on the analogue outputs” ~ Will Biggs on ORIA

“We recently moved ORIA into my main recording room so I can monitor in Dolby Atmos. We run a hybrid system, but all of our converters connect to Pro Tools via Dante,” he explains. Although they had been running Dolby Atmos in the studio for nearly two years, finding a suitable controller to run the speakers seemed to be impossible. “We put together a couple of different systems, but none were adequate,” says Will.

Enter ORIA. Will found it “very simple to set up” and appreciated how easy it was to integrate with Dante. “I plugged it in and it worked,” he says. “The way that you have the Dante card integrated into the box is intuitive and straightforward. It works nicely, and has allowed me to run Pro Tools into it very easily.” Providing up to 16 input channels over AoIP, the optional Dante Card allows quick and seamless integration with new or existing AoIP networks.

“the way you have the Dante card integrated into the box is intuitive and straightforward”

This year sees Challow Park relaunching itself as a dedicated space based on recording and mixing immersive audio, something Will, a self-confessed sound recording addict has been working towards for a while. Bored of recording and listening to music on stereo speakers, he was keen for everybody to experience the subtleties he could hear. “When you record and mix on speakers in a studio, it’s very unlikely anyone else is going to be able to hear what you’re doing, due to the quality of speakers available to the average listener.

When I first heard Atmos on headphones, it was like the sound was coming from outside my head…very different to listening on headphones traditionally. Listening on headphones is a much more level playing field; most people are listening to music on headphones on the way to work and Atmos is just a fantastic upgrade of that system. Once you’ve listened to Apple Spatial, it’s very difficult to go back to listening to the same things in stereo.”

“I plugged it in and it worked”

Comprising two control rooms and three dedicated recording spaces – including one area large enough to record a 45-piece orchestra – Challow Park Studios is built in the grounds of a Victorian house not far from Wantage. For further information give them a follow on Facebook. Or Instagram.

The post Challow Park Studio Records & Mixes Immersive Audio With Audient ORIA appeared first on Audient.

An Audient ASP8024-HE console has recently been installed at the Universidad Profesional Dr. Carlos J. Borrero Ríos (UP University) in Puerto Rico in the brand new, on-site recording lab. Designed to be centred around an analogue recording console, the new studio comprises a control room, live room and isolation booth.

About ASP8024-HE: “the EQs have been a pleasure to work with”

Taking advantage of Audient’s unique modular console design, UP University was able to specify a console which aligned perfectly with their needs: a 36-channel console with Dual Layer Control and Patchbay. Armando Sepulveda, an Audio Engineer Professor at the university outlines the decision. “The Audient console is a great fit for us here at UP University since it gives us the flexibility and capability to run big live sessions and mix in the console. It’s also a great tool for teaching how to run a recording studio in the hybrid studio era combining the DAW with the analogue console and outboard gear.

“Thanks to this console we can better teach the use of an analogue console in a recording or mixing session and we can also help students learn signal flow, thanks to its built-in patchbay.”

The AS8024-HE was originally specified by his colleague, Professor Ramon Martinez, who appreciated having preamps and EQs on all 36 channels. It’s worth noting that the Audient Console Mic Preamps and EQ’s are splittable across both the short fader and long fader paths, for ultimate flexibility in a tracking session.

UP University: “we can help students learn signal flow, thanks to its built-in patchbay”

Armando himself is a musician, recording artist and audio engineer, therefore perfectly placed to teach the next generation of audio engineers in Puerto Rico. From the get-go he admired the features of the console, including “the clarity of the preamps and the flexibility of the signal flow. Also, the EQs have been a pleasure to work with. The ability to control the DAW with the DLC control has also been really useful,” he adds.

In the years since his graduation from Full Sail University some 15 years ago, he had got out of the habit of working with an analogue desk. “I’ve used a mouse and keyboard for too long, but now having the DLC is a truly great and efficient way to interact with the DAW.” He confesses to have been “pleasantly surprised by its quality” – so much so in fact, that he’s since started buying Audient products for his own use!

UP University has its eponym, Dr Carlos J. Borrero Rios to thank for the launch of the new audio technology program. Armando tells us a little more about the university’s founder: “Here at UP University we strive to provide diverse educational opportunities, combining arts and medicine. It is Dr Carlos J. Borrero Rios’s great passion for music production, live sound and recording that inspired this newest course, and this passion is really what drives the audio program here. I’m very proud to be part of the team.”

“we strive to provide diverse educational opportunities”

Students working towards an Associate’s Degree in Audio Engineering at UP University are exposed to sound theory, operation of Digital Audio Workstations (DAW), music theory, recording techniques, live sound, mixing and post-production, as well as entrepreneurship and ethics. All of this is being taught through lectures and labs with an emphasis on giving students a real-world experience of the working environment in this profession.

The audio program is currently in its infancy, but with the inauguration of the brand new studio there are great plans to grow as word begins to get out. Indeed, Armando envisages the Audio Technology department becoming the largest in the university, and the audio engineering program itself to be recognised across Puerto Rico.

For further information on the Dept of Arts at UP University check out the website.

The post Audient ASP8024|HE ‘a great fit’ for New Puerto Rico University Studio appeared first on Audient.

Ace, lead guitarist and songwriter of UK rock band Skunk Anansie recently got himself an Audient iD24 audio interface, replacing his well-loved ten-year-old iD22. “I actually had no desire to change my audio interface, as iD22 worked perfectly for my needs and always sounded great. Yet when I heard the new architecture of the iD24, I could pinpoint more clarity in my listening material and that prompted me to move over.”

“a more enhanced listening experience” with iD24

The iconic band Skunk Anansie has sold over 6 million physical records and clocks up countless million streams a year, thanks in no small part to being “out there tearing up stages all around the world for the last 30 years,” according to Ace. He’s been playing guitar for over 45 years now and producing records for the last 20, honing his studio space to perfection over that time.

“My setup in my home studio is very basic as I really like to get the maximum out of short run signal flow from basically the computer to the monitors,“ he explains. “I use IKmultimedia iLoud precision MTM as my large nearfield monitors for playback, mix and mastering, and also the IKmultimedia MTM standard speakers as a second go to monitor for recording and tracking.

“The computer is a normal iMac with a little bit more RAM etc for music creation. I use a mix of IKmultimedia software i.e. MixBox, T-Racks, Tonex and Amplitube, as well as hardware which is the new IK Tonex Anniversary pedal and the X gear series of hardware effects pedals. I do have a Sequis Motherload and a TLA Compressor hidden in a rack in case I want to run valve heads straight into the system.

“I don’t really record track vocals in my studio, mainly guitar and bass, but when I am doing a voice over or podcast, I will use an old Rode NT1 and if I do a live acoustic guitar recording, I use the Austrian audio OC18.”

“[iD24] adds a little more dimension and clarity when I’m listening back to mixes”

Ace contemplates the added benefits of his new iD24. “I think it adds a little more dimension and clarity when I’m listening back to mixes, and I feel the real full body and warmth of the tracking that I am doing with precision and detail as I am setting it up and physically playing. That may sound small, but a more enhanced listening experience is quite a huge thing for me!”

Describing it as “a modest fixed space”, Ace’s studio is simply “the room in his house that sounds good”, where he works on all of the many projects he has on the go. His own solo projects, guesting on other people’s tracks, recording parts for Skunk Anansie demos, mixing and mastering his own music and of course “listening back to really good music for pleasure.”

It’s also in this studio that Ace recorded and played demos for the forthcoming Skunk Anansie album which is due for release mid-2025. “I also did a lot of listening back to mixes, masters and vinyl cuts after we had recorded the album in LA with producer, Dave Sitek and the mixes were coming back from Matty Green for us to approve.”

“easily portable with my laptop”

With the Skunk Anansie European and UK tour kicking off in March this year, the fact that the iD24 is bus-powered is a real bonus to Ace. “This means it’s easily portable with my laptop and is on/off when the computer is on/off.” The added JFET Instrument Input – designed to replicate the input stage of a classic valve amplifier – has also sparked his interest. “I’ll be able to record straight in with the IKmultimedia software that I use and still get the same amp-like response from my guitar.”

Ace has also kept himself busy working intermittently in music education over the last 25 years and full time for the last ten. He is Head of Industry & Brand Partnerships at AD Education UK – Europe’s leading platform in the independent higher education market focused on the creative arts – which encompasses ICMP and SAE UK.

As well as being proud of his contribution to music education, Ace also sets great store by “actually being in a band with the same people for 30 years – and still being successful doing it!” Looking back at the highlights, he mentions headlining Glastonbury, Polish Woodstock and meeting iconic figures such as Nelson Mandela and the Dalai Lama.

Impressive!  To find out more about Skunk Anansie – including info on the tour – visit the website: https://skunkanansie.com/

The post Skunk Anansie’s Ace Upgrades to iD24, Enhancing Clarity Ahead of 2025 Tour appeared first on Audient.

Audient announces the launch of iD48, the 8 channel 24in / 32 out USB-C audio interface, previewing at this year’s NAMM show.

iD48: the ultimate Audient interface

Audient’s Andrew Allen says, ”Since we launched the iD Desktop Interface Range, our customers have been shouting for us to deliver an 8-channel iD audio interface, so we are  extremely excited to announce that it is finally here. iD48 is the ultimate Audient interface, building on the core feature set that has made the iD range so popular, delivering astonishing audio performance alongside an incredibly intuitive user experience – but this time with more than enough I/O to handle any session.”

iD48 is designed with producers and engineers in mind, delivering industry standard  features for the working pro. With Audient Console Mic Preamps, advanced 32-bit ESS converter technology as well as the all new Switchable Analogue Insert technology, this 8-channel audio interface makes integrating outboard fast and intuitive – the perfect foundation for a pro studio setup.

all new Switchable Analogue Insert technology

Expanding on the all new Switchable Insert technology Andrew says, “For the first time ever, iD48’s Switchable routing enables you to select which source is feeding the ADC path. Letting you choose the Audient Console Mic Preamp or a DAW output to send to your outboard on a per channel basis – no fussing with cables. You can also bypass the Audient Mic Preamp altogether for a direct conversion path for recording.”

iD48’s impressive audio performance is thanks to its eight ultra-low noise, low distortion Audient Console Mic Preamps which deliver 68dB gain. As with the entire iD range, the all discrete high grade op amp design is the same circuitry as found in the renowned recording console, ASP8024-HE. “With iD48 we guarantee real analogue Audient Console Mic Preamps on your desktop – no copies, no emulations and no gimmicks,” underlines Andrew.

Add to that, 32-bit ESS DAC converter technology designed to greatly minimise quality loss whilst maximising performance during conversion, which results in a massive 126.5dB of dynamic range on the DACs, ensuring subtle details are audible.

the option to add more inputs and outputs via ADAT, S/PDIF or SMUX

The option to add up to 16 channels of external mic preamps with iD48 makes it easy to expand a setup as necessary. “iD48 is designed to grow with our users, offering the option to add more inputs and outputs via ADAT, S/PDIF or SMUX –  future-proofing your studio and giving you the ability to take on demanding multi-mic sessions with ease.”

iD48 is not only a powerful audio interface but also has all the capabilities of a professional monitor controller. “You can connect, listen and reference your mixes through Main and Alt speaker outputs, or use the extra line outputs to send audio to an external headphone amp for distribution to your artists,” says Andrew. Two independent stereo headphone amps also provide 124dB dynamic range and enough power to support headphones up to 600 Ohms.

Fully compatible with iD Mixer, iD48 makes it easy to set up ultra-low latency direct monitoring, create stereo cue mixes or save layout presets – all from one app.

For more information visit the iD48 product page or if you’re at NAMM, stop by the KORG booth #6903 in Hall C between 23-25 January 2025.

The post Audient Announces Flagship 8-Channel iD Interface iD48 appeared first on Audient.

Casa Frida Estudio, one of the most prestigious music facilities in Argentina, has upgraded its main control room to Dolby Atmos specifications and installed ORIA the immersive audio interface and monitor controller along with a PMC monitoring system.

ORIA: “makes our work easier and delivers high-level performance”

Owned and operated by producer and engineer Hernán Caratozzolo, Casa Frida Estudio recently moved to Zona Norte, Buenos Aires – a rural location an hour from the capital that delivers the calm and tranquillity that comes from being surrounded by nature.

“By disconnecting from the city’s hustle and bustle, musicians can focus on their music and foster inspiration,” Caratozzolo explains. “We offer music recording, post-production, stereo mixing, 5.1 mixing and Dolby Atmos mixing in 7.1.4. In addition, we also offer audiovisual recording services and analogue mastering.”

Alongside a main recording room and three ISO rooms, Casa Frida has a 45m2 control room that is equipped with an Amek Tac Scorpion II 40 channel console, Rupert Neve Designs and API summing mixers and a wide range of outboard equipment and microphones. The new Dolby Atmos monitoring system exclusively features PMC result6 monitors which are used for front, left, centre, right, height and surround channels. It is complemented by an Audient ORIA monitoring centre that is designed to create immersive audio mixes for all formats.

Caratozzolo’s decision to incorporate Dolby Atmos was based on a desire to explore the creative possibilities of the format.

ORIA “a comprehensive solution for Dolby Atmos”

“Although digital platforms are advancing in offering the user music mixed in immersive audio, we have installed a Dolby Atmos monitoring system because we believe that this format offers us a new creative possibility to convey the sensation and experience that we musicians and engineers experience in the studio,” he explains. “Imagine placing a user with their headphones in the middle of an orchestra. With immersive audio, musicians and engineers can more faithfully represent sound in space and bring that sensation closer to the listener.”

Caratozzolo, who has recorded and produced more than 2000 albums for the Argentine and Latin American independent scene, says it was the professional recording equipment store Planeta Analogico which first introduced him to ORIA. “I am very grateful,” he says. “It is a comprehensive solution for Dolby Atmos, it makes our work easier and delivers high-level performance.”

When setting up the new PMC monitoring system, he was impressed with how straightforward it was to calibrate his room. “Using the SoundID Reference measurement microphone which comes with ORIA along with SoundID Reference for Multichannel was very reliable and made the work of measuring the new monitors surprisingly easy.”

He explains how he has also been taking advantage of the fast profile recall, which enables him to switch between speakers, listening levels and target curves. “We also use ORIA for stereo mastering because we really like the quality of the converters.”

Hernán Caratozzolo on ORIA: “we really like the quality of the converters”

Opened in 1997, Casa Frida Estudio is renowned for its exceptional acoustics. Caratozzolo, a recording engineer with over 30 years’ experience, designed and carried out the remodelling of the control room. Among his many credits are three awards and nine nominations for the Gardel Awards, and a nomination for Best Tango Album at the 14th Annual Latin Grammy Awards.

“I try to provide warmth, conceptual clarity, support for the musician and a solid knowledge of production that provides human, technical and artistic optimization for each project,” he says.

Since installing the new monitoring system in June 2024, Casa Frida has started work on a series of album remixes in 7.1.4 for various artists who have previously recorded and mixed stereo projects at the facility.

“we can listen to extraordinary music from all times and remember how it made us feel”

“We are creating a special catalogue of immersive audio mixes by these Argentinian and Latin America artists who have historically worked with us,” Caratozzolo explains. “Having the ability to record audio means we can listen to extraordinary music from all times and remember how it made us feel. This is what we who record music do; we suspend time so the recorded music can be in the ‘here and now’, forever. Being able to play music through our new PMC Dolby Atmos system makes us happy and grateful as the monitors have exceeded our expectations. 12 PMCs playing at the same time is amazing!”

Click here for more information about Casa Frida Estudio. Click here for more information about Planeta Analogico or go directly to their ORIA page.

The post Top Argentine Music Facility Casa Frida Chooses ORIA For Its Upgrade To Dolby Atmos appeared first on Audient.

Multi-platinum Grammy award-winning engineer and producer Dyre Gormsen has installed ORIA, the immersive audio interface and monitor controller into his new ‘experimental space’ in a radar station in Devon. He was so impressed that he’s already got himself another one for his London studio.

“Audient has just made everything easier”

Accumulating a huge catalogue of credits in his three decades in the business working with the likes of Arcade Fire, Of Monsters and Men, Calvin Harris and Yungblud, Dyre’s own Eastcote Mastering was one of the first London studios to adopt the Dolby Atmos system back in 2021.

“Nobody had put something together like this! Before this, everybody was running two computers and two interfaces, but I was convinced that I should be able to connect one interface and do everything on one machine,” he says. Spearheading the transformation himself, he spent a long time learning how to set up Dolby Atmos in a music studio, collaborating with the team from HHB and Dolby who helped to steer him in the right direction.

“The setup process was definitely an easy and satisfying experience, with quick and great results”

Two years after perfecting his London studio, he was looking to install a similar setup in his new Devon space, The Radar. It was then that he discovered Audient’s ORIA made working in Dolby Atmos considerably more straightforward. “The setup process was definitely an easy and satisfying experience, with quick and great results. Audient has just made everything easier.”

Describing the space in Devon as “a relatively raw room which we are slowly treating over time” Dyre has recently added additional speakers, making it 9.1.6. “Using ORIA is absolutely perfect for our situation, because we need to be able to keep up the tuning of the room. It’s so easy to calibrate with the SoundID Reference microphone, too. You don’t need a team of specialists to get it right and it’s all laid out for you in the instructions.

ORIA: “so easy to calibrate with the SoundID Reference microphone”

With ORIA now the main master interface at The Radar, Dyre has found it to be very reliable. “It has not let me down and really fits with my workflow and translates well from Eastcote Mastering. When I come down to Devon, I don’t have to change anything.” This works equally well with producers and engineers visiting The Radar.

In fact, he is so pleased he’s already got another ORIA for Studio B in Eastcote Mastering. He concludes, “It makes a lot of sense to me in many ways and is definitely one of the best products on the market for Atmos mixing that is within financial reach and sounds great.”

Find out more about Dyre by visiting his website.

Read Dyre’s full Success Story online here.

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