The Audio Technology Program at American University in Washington, D.C., focuses on both the art and the science of audio and music technology. This spring, the school chose Genelec audio monitors for its two main control rooms.
Anchored by a 2,200-square-foot, three-studio complex, the program offers a main recording space with variable acoustics, a drum room with a removable floor to reveal six Foley pits, four isolation booths and a machine room enabling interconnectivity through the entire studio complex.
The main control room now has a 5.1 monitoring array using Genelec 8351A Smart Active Monitors as the L-C-R front array, a pair of 8341A Smart Active Monitors as the rear-surround array — all part of Genelec’s “The Ones” series — and a 7380A Smart Active Subwoofer.
The second control room now has a Genelec 8020.LSE Espresso 5.1 monitor system with five 8020 Smart Active Monitors around the room and a 7050B Studio Subwoofer.
“It was time to update our monitoring, and we wanted a speaker that would be consistent throughout the studio complex,” said Michael Harvey, program director of audio technology at the university. “We wanted the mixes to translate seamlessly between the two main control rooms. But just as importantly, we wanted our mixes and recordings to translate accurately everywhere else, too."
Harvey said the two Genelec-equipped studios are of different sizes, but the two different Genelec speaker series are both suited to each room’s dimensions and acoustics. Yet they provide the brand and response consistency that the school sought, so that as mixes and recordings move from studio to studio, students always hear a familiar tonality.
You might also like...
Lawo’s Christian Struck looks at the potential for production automation in immersive sports broadcasting, and how it can help move towards a personalized, object-based experience.
Genelec Senior Technologist Thomas Lund moves the monitoring discussion on to the practical considerations for immersive audio, wherever you are.
In this fourth installment of the Immersive Audio series we investigate the production tools needed to produce live immersive content. Moving from channel-based output to object audio presents some interesting challenges as the complex audio image moves around in three-dimensional…
Immersive audio transforms the listening environment to deliver a mesmerizing and captivating experience for a wide range of audiences and expansive group of genres.
Part one of this four-part series introduces immersive audio, the terminology used, the standards adopted, and the key principles that make it work.