Studio E. Photocredit:
New York, NY (May 7, 23009)–The Walters-Storyk Design Group has just completed design and construction of Studio E at audioEngine, a New York-based TV commercial audio post production complex. The room marks the fourth WSDG-designed Dolby-approved studio.
Dolby-approved rooms are thought by some to be critical to 5.1 theatrical sound mixes for advertising messages viewed in movie theaters. Studio E at audioEngine was custom built for mixing engineer Hilary Kew Martell, a specialist in theatrical 5.1 mixing.
Tests by Dolby engineer Tom Kodros found Studio E design, technology and wiring to meet Dolby standards on virtually every level. Illustrated by RTA graphs, the report states (in part), “Each main speaker’s final response falls nicely on the curve with +/- 1dB deviation, which is well within specification. The Subwoofer (LFE) response also turned out quite nicely. With some minor EQ applied, we were able to achieve a flat response from 20Hz to 125Hz. Simply put, the LFE response is impressive and sounds great in the room.”
In addition to audioEngine, WSDG has designed Dolby Theatrical Studio-approved facilities for TV Globo, the largest broadcaster in South America (currently under construction in Rio de Janeiro); Sound REC, a Buenos Aires mastering studio, and efe-x, a Bogotá film mixing studio.
Founded in 2000 as a visual effects house for both TV commercials and feature films, efe-x has evolved into Colombia’s largest post production facility. The firm maintains a staff of over 60 employees. To meet the needs of an increasingly sophisticated audience, efe-x engaged Sergio Molho, head of WSDG’s Latin office to design a high-end audio post production suite.
Collaborating with company principal architect/acoustician John Storyk, Molho developed a spacious custom film mixing theater with a 1,200 sq. ft. mixing/screening room, 200 sq. ft. sound lock, 600 sq. ft. office and related support space. “Our client requested an innovative design solution and world-class acoustics to assure their international clientele of first-tier mixing services,” Molho says. “Equipment for this impressive suite includes Dynaudio surround monitoring, [Digidesign] ICON console and full Pro Tools and HD visuals. Dolby authorization was a pivotal issue.
“Knowledgeable producers are keenly aware of the value of Dolby Sound as a prerequisite for successful theatrical presentation,” Molho adds. “The efe-x investment in a full-up Dolby Film Mixing Theatre is already producing dividends in the number and quality of feature film and theatrical commercial projects booking the facility.”
“Audio mixing for theatrical presentation is an extremely specialized discipline, and only studios designed for this clientele require Dolby approval,” Storyk concludes. “Meeting these standards requires a combination of technical and design solutions. We perform a rigorous series of tests prior to requesting Dolby approval. We won’t invite them in until we’re confident the room will pass.”
Walters-Storyk Design Group