The control room

The nerve centre of the studio

We love analogue - the thought of volts rather than bytes flowing through real circuits rather than subroutines. There are real technical benefits too, including sonic headroom, the warmth of analogue summing, and authenticity: remember that most digital processing is programmed to emulate real world equipment.

And we really love how it's so tactile - we think all engineers deep down want to slide faders rather than click mice. The Audient 8024 is a professional analogue desk, and we have a good deal of analogue equipment.

 

But the influence of digital has made music technology much more accessible, by making it cost effective and quick & easy to get going. We exploit digital technology alongside analogue in order to be efficient and flexible. We have two Universal Audio Apollo 16 analogue-digital converters (for 32 channels of simultaneous conversion), a hi-spec computer running Logic and Pro Tools, and a wide range of software plugins both native and DSP.

The result is a optimal blend of analogue and digital equipment.

The room is designed and treated to be acoustically neutral. It is not dead for that would be unnatural, but the reverb and echoes are very tightly controlled.

Our primary monitor speakers are Genelec 8351, a new model in late 2014 that has caused a good deal of excitement in the sound-engineer community. We never cease to be astonished at the clarity of sound emerging from these speakers, telling the truth about a piece of music that other speakers simply lie about.

Mixes in our control room therefore leave the studio sounding as they should on pretty much any sound system.