Israel’s Dubidub Studios Create Immersive Dream Room With Genelec

Tel Aviv-based dubbing and post-production facility Dubidub Studios is seen as a technology leader in Israel, so it came as no surprise when it wanted to embrace immersive audio and create the first professional Atmos studio in the country. When it came to the monitoring solution, Genelec provided the answer.

The main driver behind the move to Atmos was demand from international clients. “Atmos today already completely dominates the theatrical industry,” says Dubidub CEO Ami Offir. “All major companies in the world would probably nowadays produce their content in Dolby Atmos, not in 5.1 or 7.1.”

To meet this need, Dubidub decided to upgrade its main studio, creating a space it named The Dream Room. To make sure the space met Dolby’s specifications, Offir enlisted the help of highly esteemed acoustic consultant David Huja, who runs DHA Acoustic Design.

When it came to the monitoring solution, Genelec was the obvious choice. “After hearing a lot of speakers, I decided that Genelec gives you the confidence that what you hear – if it sounds good – will sound good everywhere, because it’s so detailed,” says Offir. “Genelec monitors give you both truth and impressive power, and these are the only speakers I know that can do it.”

The system was supplied by local Genelec partner Kilombo and based around ‘The Ones’ family of coaxial monitors. Three 8351 models were installed in the LCR positions, with four of the more compact 8331 models acting as the surrounds. For the height channels, four of the 8330 two-way monitors were the preferred choice. The pre-existing subwoofers were retained by the studio to handle LF duties.

“The even listening field is achieved by the coaxial drivers in all Genelec The Ones models – it’s very good, it’s very wide and it’s very balanced,” adds Huja. “The way the sound spreads from these coaxial speakers is very special. And due to the unique way of distributing the three parts of the energy: low, mid, and high, you really feel comfortable when moving to the sides, sometimes even back and forth. You feel like there’s something very balanced about what you’re listening to.”

With the upgrade complete, the reaction to the new immersive space has been very positive. “The Dream Room is built to a very high standard,” says independent consultant, producer and mixer, Yoad Nevo. “The way the speakers are embedded and acoustically blended in the room creates a very transparent environment where you don’t feel like you’re looking at speakers and hearing different sound sources. The worst thing you can do, especially in surround, is to turn your head and look at the speakers. That’s what you always want to avoid as a mixer. The Dream Room is very accurate sonically, and it’s just a great space to be in!”

You might also like...

Designing IP Broadcast Systems: Routing

IP networks are wonderfully flexible, but this flexibility can be the cause of much frustration, especially when broadcasters must decide on a network topology.

Audio For Broadcast: Cloud Based Audio

With several industry leading audio vendors demonstrating milestone product releases based on new technology at the 2024 NAB Show, the evolution of cloud-based audio took a significant step forward. In light of these developments the article below replaces previously published content…

Designing IP Broadcast Systems: Why Can’t We Just Plug And Play?

Plug and play would be an ideal solution for IP broadcast workflows, however, this concept is not as straightforward as it may first seem.

Why Live Music Broadcast Needs A Specialized Music Truck

We talk to the multi-award winning team at Music Mix Mobile about the unique cultural and creative demands of mixing music live for broadcast.

An Introduction To Network Observability

The more complex and intricate IP networks and cloud infrastructures become, the greater the potential for unwelcome dynamics in the system, and the greater the need for rich, reliable, real-time data about performance and error rates.