Svante Forsbäck Uses Amphion Loudspeakers on “Rammstein Paris” Film

Svante Forsbäck, one of Scandinavia’s top mastering engineers, unveiled his biggest project to-date — “Rammstein Paris” — a concert film by multi-Grammy and award-winning Swedish director, Jonas Åkerlund.

The film — like all Rammstein performances — is a work of art crafted from footage captured by 30 cameras in two consecutive shows held at the Bercy Arena, Paris, in March, 2012. Åkerlund and his studio crew then spent over a year editing the footage.

The level of sonic excellence on the project was extraordinary. For mastering the project, Svante used a mixture of analog and digital gear such as Buzz Audio, Klein Hummel and Weiss EQs, Manley and SSL compressors, and two pairs of TC Electronics System 6000 mastering systems.

For monitoring, Svante used Amphion Two18 studio monitors with BaseOne25 system as LRC and One18s as surrounds.

Svante Forsbäck

Svante Forsbäck

“The overall stereo image and depth of the Amphions are great. But what really stands out for me, is the definition in the low-mids. I work a lot with music which contains plenty of important guitar information in the low-mids, that’s why the resolution there is really important for me,” said Svante.

Amphion Two18 Speaker

Amphion Two18 Speaker

“These speakers really shine when used in surround. The way they blend together and re-create the recorded space is just amazing. Another impressive feature of the Amphions is how good they translate to the movie theaters and in this project we did check quite a few of them.”

Amphion Loudspeakers has been designing and building loudspeakers in Finland since 1998. The company’s studio monitors offer natural reproduction. Precise driver integration ensures world-class imaging and phase coherence. All products are handmade in Finland to ensure enduring listening quality.

You might also like...

Digital Audio - Part 1

It seems almost superfluous today to specify that audio is digital because most audio capture, production and distribution today is done numerically. This was not always the case and at one time audio was primarily done without the help of…

Audio Levels - Part 5

There is level and then there is loudness. Neither can be measured absolutely, but by adopting standardized approaches it is possible to have measurements that are useful.

Audio Levels - Part 4

There are two basic reasons to know the level of an audio signal. One of these is more technical and one of them is more subjective.

Audio Levels - Part 1

Superficially, level seems to be a simple subject: just a reading on a meter. In practice, there’s a lot more to it. Level matters because if it is wrong, sound quality can suffer, things can get damaged or cause…

The Sponsors Perspective: Production Automation For Immersive Audio

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.