Construction of the Boom Room Recording Studio

TABLE OF CONTENTS
1. INTRODUCTION
2. LAYOUT
3. FLOATING FLOOR
4. DRY WALL
5. HANGING CEILING
6. CUSTOM MADE DOORS
7. CUSTOM MADE WINDOW BETWEEN THE RECORDING ROOM AND
CONTROL ROOM
8. CALCULATION OF STANDING WAVES
9. POWER CALCULATION/REQUIRED UPS AND PC
10. ELECTRICAL SUPPLY
11. LIGHTING AND POWER POINTS
12. AC DUCTING/TONNAGE CALCULATION/HVAC SYSTEM
13. ACOUSTIC TREATMENT
14. ABSORBERS AND DIFFUSERS
15. REVERBERATION
16. EQUIPMENT FOR THE STUDIO::
• MICROPHONES
• HEADPHONE AMP
• A-D/D-A CONVERTERS
• PRE AMP
• CONTROL SURFACE
• ETHERNET HUB
• DI BOX
• JUNCTION BOX
• MICROPHONE STANDS
• PATCHBAY

• POP FILTER
• HEADPHONES
• DRUM KIT
• GUITAR AMP
• MIDI CONTROLLER
• MONITOR CONTROLLER
• ACTIVE MONITORS
• CABLES AND CONNECTORS
17. MAC PRO
18. SOFTWARES AND PLUG-INS
19. SIGNAL FLOW
20. COST SHEET
21. CONCLUSION

DESIGN
The
day
I
sat
down
to
make
the
design
of
the
BOOM
ROOM;
I
came
up

with
about
half
a
dozen
designs
but
only
to
be
rejected
as
none
of
them

satisfied
me
as
much
as
this
one
did.

As
its
apparent,
there
is
a
‘sound-‐lock’
just
as
we
enter
the
studio.
This

empty
space
is
used
as
a
major
isolation
between
the
control
room
and

the
recording
room,
as
a
person
trying
to
get
to
the
recording
room

from
the
control
room,
will
have
to
go
through
the
sound
lock,
which

prevents
any
sound
leakage.

THE CONTROL ROOM

The
Control
Room
has
a
massive
area
of
about
75.6
square
meters.
The

maximum
length,
width
and
height
are
10.5
m,
7.2m
and
4.5

respectively.

Talking
about
the
design
of
the
control
room
in
the
Boom
Room,
its

based
on
the
RFZ
(reflection
Free
Zone)
to
avoid
the
room
modes.

Because
of
this
design
I
could
achieve
a
difficult
condition
in
a
control

room
of
avoiding
unnecessary
reflections.
The
Control
Room
is
perfectly

symmetrical
and
pretty
diffusive.
There
was
a
necessity
of
a
window
to
connect
the
recording
room
with

the
control
room,
therefore
keeping
the
symmetry
in
mind,
I
have

allotted
a
big
2m
long
window.

THE RECORDING ROOM
Unlike
the
control
room
the
recording
room
is
a
simpler
design.
More

like
a
rectangle
yet
not
many
parallel
walls.
As
one
go
through
the

sound-‐lock
to
the
recording
facility
of
the
Boom
Room,
tall
walls
and

hugeness
is
pretty
apparent.
I
have
intentionally
made
the
walls
of
the

recording
room
taller,
definitely
taller
than
the
control
room
for
grander

and
much
better
natural
reverb.
Although
to
avoid
room
mode
I
have

made
the
corner
of
the
room
slightly
blunt.
The
maximum
length,
width

and
height
are
10.5
m,
7.2m
and
5.5m
respectively.

CONSTRUCTION
FLOOR
TECHNIQUE: Jack up (wooden)
STC: 58
The Floor construction probably was the easiest to go with. Because of the
fact that the area provided to us was on the second floor, a major problem of
the structure bond noise was minimized to a great extend. Considering the
limitations of the budget, I decided to go with the wooden floating floor
design.
On the main foundation provided to us, I installed a pattern of jacks or
isolators, with

rubber and spring mechanism. On these rests
2” X 4” wooden joists, filled with glass
wool in it. The gypsum board makes the
foundation for the floating floor with a 5/8”
and ½” gypsum board layers with bitumen
coated between them.
This is to provide a flat upcoming
construction. The board is screwed into
these jacks.
BITUMEN
I have also planed to just
randomly pour sand
inside the cavity to
increase the overall mass
of the floor, and mass
plays a vital role in
dealing with structure
bond sound.
What follows is a sheet of 5/8” Gypsum board to provide the second
foundation in a way. A thin layer of Bitumen, by product of petroleum is
then applied to the board. Bitumen is very cheap and has always been a very
good sound barrier. After the layer of Bitumen dries out, another layer of
Gypsum board of different thickness, ½” is attached using the acoustical
glue. The floor is now almost ready. It is finished with a layer of wooden

floor followed by a beautiful carpet, though the carpet doesn’t spread all
across the area.
It may look but the walls and the floor are not at all in contact with
each other, I knew that if they come in contact, they might act as a
pathway to the unwanted sound to travel through, hence defeating
the concept of a shell construction. Because of exact calculation a
minute gap of ¼ inch is given between the two. The gap is filled
with ¼th
inch backer rod. The gap is final caulked with a non-
hardening compound for the final finishing.

WALL CONSTRUCTION (STC-59)

The
construction
of
a
soundproof
wall
was
a
very
important
part
of
the

studio
construction.
Because
the
walls
contribute
to
the
maximum

surface
area,
it’s
very
important
to
have
a
good
construction
design
for

the
wall.

I
have
used
the
usual
shell

design
for
both
rooms
(i.e.
RR
&
CC).

The
image
on
the
right
shows
the

various
layers
that
I
have
used
for
the

construction.
Sticking
to
the

contemporary
studio
wall
design,
I

have
used
the
drywall
construction

with
several
layers
of
gypsum
board

of
various
thicknesses’.
The
layers
of

Gypsum
board
are
placed
strategically

around
various
layers
of
insulation

like
Glasswool,
BBC
(Barrier & Quilted
Fiberglass Absorber Composite),
Audimute Peacemaker and a very
important but not apparent layer, i.e. the
air gap.

Starting with the given wall, there are sway braces installed as high as 7 feet
and as low as
Starting with the base, the structure stands on a 2”X4” wooden stud
supporter by 4”X3” studs placed 20” apart. The distance between the studs is
filled with 75mm glasswool and the BBC. On the vertical studs, Acoustigard
Genie Clips are installed in the following pattern.

The
GenieClip
arrangement
as
shown
above is to ensure that the Clips
evenly supports the drywall structure. The Furring channels are then hung at
an equal distance of about 22”. The base for the drywall construction is now

ready. First to be nailed to the furring channel is a ¾ Inch layer of gypsum
board. The cavity created by the GenieClips acts as a space where certain
frequencies can resonate and finally get absorbed by the Glasswool. A layer
of Audimute Peacemaker follows the layer of ¾ Inch Gypsum board, which
is a good chose for damping lower frequencies. The acoustical Glue glues
the Peacemaker to the Gypsum board. This takes us to the last layer my
studio wall construction, which is a 5/8 Inch Gypsum Board layer.
The reason I have used gypsum boards of two different thicknesses is
that if they have the same thickness, they both will have the same resonating
frequency. And because they have pliable layer of peacemaker in between,
we might want to reduce the chances of transferring their energy in the form
of low frequency vibration.
The electrical socket was a big issue when it came to get them through
the wall. I knew that a staggered entry really helps. The
wire
for
the

electrical
socket
as
seen
below,
goes
through
the
initial
first
three
layers

(i.e.
Gypsum
Board
¾”,
Peacemaker,
Gypsum
Board
5/8”)
and
in
the

cavity
created
by
the
GenieClips
it
changes
it
way.

The
distance
between
the
electrical
socket
and
wall
is
kept
about
1/8th
“.
The

electrical
sockets
are
caulked
to
ensure
no
leakage
of
sound.

Roof Construction (STC-57)

The
roof
construction
is
often
difficult
because
of
the
fact
that
it
holds
many
things

all
at
once
against
gravity.
Air
conditioning
ducts
need
to
go
above
the
false
roof
and

all
sorts
wiring
can
be
best
done
on
the
roof.
But
with
more
applications,
comes

more
acoustical
challenges,
like
the
AC
duct
has
the
tendency
to
ring
at
certain

frequencies,
and
if
these
vibrations
are
well
carried
to
the
false
roof,
every

soundproofing
done
is
gone
to
the
trash.

As
apparent
from
the
image
on
the
right,
the
layers

used
are
not
many
but
its
very
intentional
because

the
load
on
the
roof
would
already
be
high
enough
to

deal
with
lower
frequencies.
Because
of
the
fact
that

the
roof
has
to
hang
not
rest
on
the
concrete
walls,

its
difficult
to
have
really
heavy
roof
hung
from
a

drywall
construction,
and
to
add
up
to
the
weight,

there
are
AC
ducts
gong
all
around.
Therefore,
to

avoid
the
possibility
of
a
weak
roof
falling
down
on

the
engineer,
I
decided
to
go
with
the
suspended

roof
design.

In
such
a
design,
the
roof

actually
is
in
no
contact
with

anything
but
the
main
roof.
The

false
roof
literally
hangs
from

the
main
roof
through
strong

hanging
jack,
I
have
chosen
the

Kinetic
noise
control
ceiling

hangers
for
this
to
work.

A
set
of
jacks
suspends
a
set
of
joists,
which
acts
as
a
base
for
the
suspended
ceiling.

The
2”X4”
joists
filledwith

a
75mm
layer
of
glass
wool
in
between.
This
layer
acts
as

an
insulator.
Then
a
thin
cavity
is
left
for
the
air
to
help
resonate
certain
frequencies,

which
ca
be
absorbed
by
the
glass
wool.

I
have
nailed
a
layer
of
½“
gypsum
board.
This
further
ensures
that
there
is

no
leakage
from
the
AC
ducts
to
the
ceiling
in
the
form
of
vibrations.
The
½”
Gypsum

board
is
coated
with
Bitumen,
a
compound
I
have
already
used
for
my
floor

construction.
This
layer
is
to
provide
the
much
needed
mass
to
the
construction
and

Bitumen
also
seals
the
joints.
Then
another
layer
of
Gypsum
board
but
of
a
different

thickness
(i.e.
5/8”
Inch)
is
stuck
to
the
dried
Bitumen
with
the
help
of
acoustical

glue.

Floor, Wall and Ceiling Connections

Window Construction (STC-48)
Window is an essential part of a studio design. It acts as a link between the
engineer and the Artists, and the better the communication the better the
music produced. Although, the size of the window is very subjective. It can’t
be so small that’s only the artist’s guitar is visible through it, at the same
time it cant be so huge that it actually acts as a weak link in the acoustical
isolation chain. Talking about my design, depending how the rooms were the
window of the recording room and the control room mould them in the
design.
The Picture above shows how the window of the control room look like.
Using this design against the control room design, I made the
windowpanes, non-paralle, doing so I completely got rid of the possibility of
certain frequencies resonating between the two panes.
A 1” thick sheet for CR and ¾”
Inch thick sheet for RR, of
fiberglass is set into a frame, in
the respective patterns. The glass
sheet rests on a thin layer of
gasketting, which makes sure that
the glass is airtight and yet not in
direct contact with anything.
But still to ensure the soundproofing, every joint is caulked.

The image shows the treatment
done in between the two
windows. As we can notice,
there is a gap between the two
structures, this gap is provided to
are nailed for the finishing.
Ensure that no sound transmits through the structure. Over this gap, is
laid a thin layer of Neoprene rubber, this is done to make the window air
tight. Then finally, two more wooden planks

Door Construction(STC-49)
The Door is one of the weakest links in the soundproofing chain, because
they can’t be hinged from all sides forever. And yet they can’t be removed
from a design. So the best way is to try and achieve a good heavy and
soundproof door.
Its not easy to achieve as it may sound, remember we want to make it
heavy and stern but at the same time as sleek as possible.
My design is actually pretty simple and most of its mass comes from
the wood used in the construction.
I believe that there has to be a good balance of mass and void in a
good soundproof door. To achieve the desired level of soundproofing it was
important for me to make good choices for the materials used in the door.
Deciding just the material wasn’t good enough; to decide which layer
comes when in the series was a difficult job.

Starting from the outside, a 2” thick
Teak wood plank is nailed with
1.5”X2” wooden studs to get the basic
structure. We would need two of these
structures.
The cavity created by the joists is filled
with 25mm glass wool sheet, still
leaving an air gap of about 10mm for
the resonance to occur.
A thin layer of about 3.2 mm peacemaker is
sandwitched in between the similar structures.
Due to the amazing capability of the Audimute
Peacemaker of providing mass for the least
space, it adds to to the overall mass of the door.
Peacemaker is a very effective alternative
of the MLV (mass loaded vinyl). Its good for
low frequency intercption. But here am also
using it as an isolater to isolate two layers of
studs.

Rubber
Gasketing
The images above are the clear example of the kind of gasketing I have
wished to use. This kind of arrangement is called a head and jam
arrangement. Zero international is the brand I have decided to trust for
further air tightening my studio doors.
While for the Equipment room and the machine room, I have used an
ordinary door construction with basic rubber gasketing.

Standing Waves Calculations
Control Room
Dimensions: L- 10.5m
B- 7.2m
H- 4.5m
Axial Mode

Standing Waves Calculations
Recording Room
Dimensions: L- 10.5m
B- 7.2m
H- 5.5m
Axial Mode

Power Calculations
Control Room
Console – 4 x 4units = 16 A (Euphonix MC Control + MC Live)
ADDA +outboard gear – 0.25 x 4 units = 1 A
Mac Pro PC = 6 x 1 units = 6 A
TFT Monitors = 1 x 1 units = 1 A
Reference Monitors = 2 x 2 units = 4 A
Keyboard Controller = 0.25 x 1 = 0.25 A
CFL bulbs= 0.5 x 5 = 2.5 A
Total = 30.75 amps x 230V = 8970 / 1000 = 7.07 KVA(max)
Recording Room
CFL bulbs= 0.5 x 5 = 2.5 amps
Guitar Amp = 10 x 1 = 10 amps
Total = 12.5 A x 230 V = 2. 87 KVA (max)
So, 7.07 + 2.87 = 9.94 KVA
Hence,
9.94 KVA is what the Studio would be drawing
at peak mode.

UPS and Power Conditioner
APC Smart-UPS VT 10kVA 400V w/1 Batt Mod Exp to
2

*
Output
Power
Capacity:
8000
Watts
/

10
kVA

*
Max
Configurable
Power:
8000
Watts
/

10
kVA

*
Nominal
Output
Voltage:
230V,400V

3PH

*
Output
Voltage
Note:
Configurable
for

380
:
400
or
415
V
3
Phase
nominal

output
voltage

*
Efficiency
at
Full
Load:
96%

*
Output
Voltage
Distortion:
Less
than

5%
at
full
load

*
Output
Frequency
(sync
to
mains):
47
-‐

53
Hz
for
50
Hz
nominal

*
Crest
Factor:
Unlimited

*
Waveform
Type:
Sine
wave

*
Output
Connections:

(1)
Hard
Wire
4-‐wire
(3PH
+
G)

(1)
Hard
Wire
5-‐wire
(3PH
+
N
+
G)

(1)
Screw
Terminals

*
Output
Voltage
Tolerance:
+/-‐1%
static

and
+/-‐
5%
at
100%
load
step

*
Output
Voltage
THD:
<
2%
for
0
to

100%
linear
load
and
<
5%
for
full
n

*
Efficiency
at
Half
Load:
94%

*
Required
Output
Current
Protection:

20A

*
Bypass:
Built-‐in
Maintenance

Bypass,Built-‐in
Static
Bypass

*
Battery
Type:
VRLA

*
Included
Battery
Modules:
1

*
Available
Battery
Slots:
1

*
Typical
recharge
time:
5
hour(s)

*
RBC
Quantity:
1

FURMAN PL-PLUS-CE
Maximum Output Current: 10 amps
Line Cord: 3/1.0MM AWG, 2.5M cord w/IEC female to 10A Schuko plug
Pull-out Lights: Two multi-LED, dimmable lamps
BNC Socket w/Switch: Rear rack lamp, 12VAC 500MA maxx (lamp not included)
Operating Voltage: 180 to 274 VAC
Spike Protection Mode: Line to neutral, zero ground leakage
Spike Clamping Voltage: 375 VAC peak @ 3,000 Amps
Response Time: 1 nanosecond
Maximum Surge Current: 6,500 Amps
Noise Attenuation: 10 dB @ 10 kHz, 40 dB @ 100 kHz, 50 dB @ 500 kHz
Dimensions: 482.6mm W x 266.7mm D x 4.45mm H
Weight: 6 kg.
Power Consumption: 12 watts
Safety Listing: CE

Electrical Plan
Our Main Distribution Unit gives out three phases: One phase is used by the AC and its
utilities, the other phase is connected to the UPS in the equipment room, which is further
connected to a Power Conditioner, which powers all the Audio Equipments ( through
plug points in the recording room and control room). The last phase is connected to
another Main Distribution Unit, which gives power to all the 4 rooms in our studio for
Lighting and other utilities.

Side View
Having merely good conditioning doesn’t all the purpose. The well spread
cooling is a must. Presumption works well, especially when you know where are
all your heat producing equipments kept.
In my design, as it can be seen, more emphasis is toward the mixing desk, where
all the equipments and machinery will be kept, but this is primarily done also,
keeping in my the fact that the farther the vent the lesser would be the cooling

HVAC
TONNAGE CALCULATION
We need two Split Air Conditioners in the machine room and the equipment room, where
as for the Control Room and Recording room we use the HVAC system.
First we calculate the tonnage required,
The unit used is called British Thermal Unit (BTU), and12000 BTU = 1 TONNE
Area
Area of control room = 72.45 Square meters
So,
Total BTU = 72.45 x 337 = 24418 BTU (approx.)
People
Maximum of 6 people = 6 x 400 = 2400 BTU (approx.)
Equipments
Total Wattage of the equipments= 5750 W
Total Heat of the equipments= 5750 x 3.5 = 20125 BTU
Lighting
Lighting Bulbs =13 x 15W = 195W x 4.25 = 829 BTU (approx.)
Total Head Load = 24418+2400+20125+829=47772 BTU
But,
The cooling required is doubled
So,
Cooling Required= 47772x2= 95544 BTU (rounded off),
then we further divide it by 12000 to get = 7.9 Tonnes

A.C. Units
The Bluestar
(Ducted Long Distance Cooling System)
This locally sourced cooling system is
capable of handling office complexes and
entire buildings.
The compressor can be kept as long as 50m
away as opposed to 6m for regular split air
conditioners.
The ducting is made by Bluestar. The ducts
are wide and there are regular angles in the
system, making the airflow as quiet as
possible
keeping space constraints in mind.
The main compressor is a powerhouse. It is
placed on the outside wall on a constructed
platform.
The ducts are placed between the existing
wall and the constructed dry walls.
The Vents, made by Bluestar. The
grilles are made of plastic, which is
quieter than metal.
The vents are isolated in their own
enclosures.
Each enclosure is tightly sealed and
is made of
absorptive material.
We wil have two Split AC’s in the Machine Room and Equipment Room, and for the
Recording room and Control room we will use the HVAC (heating, ventilation and air
conditioning) system. This is because these three functions are essential in maintaining
comfort in every dwelling. The primary use of HVAC is to regulate room temperature,
humidity, and air flow, ensuring that such elements remain within their acceptable ranges.
Whirlpool
1
ton
split
air
conditioning

unit
for
equipment
room
and
machine

room.

Auralex studiofoam wedges 4"
Auralex 2inch wedges

Auralex TruTrap Genesis system
Auralex T’Fusor

Audimute 2'X4' sound absorption panel
Primacoustic Radiator Array

RT 60 Calculations
Control Room
Because of the complex structure of the Control it was difficult to get the
real RT 60 calculations done. I therefore took reference from an online RT60
calculator to get my approx RT60.
Source: Walter Storyk design Group.

Recording Room
As compared to the Control room, recording room was easier to calculate the
RT 60.
Source: Walter Storyk design Group.

The Graph above shows the RT 60 in different acoustical
treatment varying from untreated to well treated.

Equipments
The PreSonus HP 60
PreSonus HP60 Features:
• Six independent ultra-low noise, high output headphone amplifiers (150 mW
per channel)
• Two sets of stereo inputs (A and B) with balanced TRS connectors
• Stereo external input point on each channel for "more me" with trim control
• Mix control between inputs A and B
• Talkback with external XLR microphone with control
Direct stereo line output on each channel
Presonus HP60 Specification Chart
Specification Detail
Input A (2) ¼” TRS balanced 10k Ohms
Input B (2) ¼” TRS balanced 10k Ohms
External input TRS stereo unbalanced 10k Ohms
Headphone amplifier
output power
150 mW RMS (60 Ohms) per channel
Audio outputs ¼” TRS stereo unbalanced per channel
Master controls Talk button, Talkback volume, Input A, Input B
Channel controls Headphone level, Mix A/B control, External input
level, Mono, Mute
External talkback XLR with TS external control jack
Power IEC - factory configured for 115V or 230V
Dimensions 1U - 19"(W) X 1.75" (H) X 5.5"
Weight 8.0 lbs.
Rack Height 1U

The AMS-Neve 4081
When it comes to sustaining the quality of a production. The preamps play
the most important role. No matter how great is your setup; all is useless if
you fail to persist the quality of the signals coming in.
When I had to trust some brand for pre-amplification, it had to be
Neve. The Neve 4081 comprises of four 1081 mic-pre setup. Two of these
units can give up to 8 channels of pre-amplification. It might be a pretty
expensive idea to have these preamps, but totally worth it. With remote
control through a Protools setup, AMS NEVE 4081 tured out to be my best
choice for the mic preamps.
AMS-Neve 4081 Features
• The legendary Neve microphone preamp design
• Four genuine 1081 Mic preamp channels in a single 9.5” wide unit
• Two units can be linked together to provide 8-channels in a 19” unit with optional 19"
rack-mount kit
• Remote control using a Mac or PC with Neve Remote Control software
• XLR Mic input can be switched between Mic and electronically balanced Line
• Switchable 48V Phantom power supply
• Digital I/O Option: Firewire/AES interface with four channels of A/D conversion to
either AES or FireWire and 4 channels of D/A conversion. Analogue Insert (pre A/D
converter) per channel.

AMS-Neve 4081 Specifications
Specifications
Details

Power 100 – 240V AC
Channels 4
Maximum mic input level +24dB
Line Input Z in 50k ohm unity gain
Outputs Max +26dB into 600 ohms
Mic Input XLR input, Z in 1Kohm @ 1KHz Gain
+20dB to +70 dB in 5 dB steps.
Dimentions 218 (W) 88.2 (H) 267 (D)

The Behringer Ultrapatch Pro
Behringer Ultrapatch Pro Features:
• 3 modes, easily selectable per channel via top-side switches
• "Thru" interconnects each rear jack with its corresponding front jack
• "Half Normal" interconnects the two rear jacks of one channel; inserting a plug
into the lower front jack interrupts the connection of the rear jacks
• High-quality components and exceptionally rugged construction ensure long
life
• Fully balanced high-quality ¼” TRS connectors
Behringer Unltrapatch Pro Specification Chart

Specification Detail
Connector ¼” TRS, Balanced
Channels 24
Rack 1U
Dimentions approx. 1 3/4" x 19" x 3 2/3" (44.5 mm x 482.6
mm x 93 mm)
Weight approx. 4 lbs (1.8 kg)

Apogee AD-16X
Apogee AD-16X Features
• 16 channels of premium 24-bit AD conversion
• Sample rates up to 192k
• 16 channels of AES, ADAT/SMUX Output
• Word Clock I/O
• Analog in 1-8 Balanced, DSUB 25pin connector
Apogee DA-16X
Apogee DA-16X Features
• 16 channels of premium 24-bit AD conversion
• Sample rates up to 192k
• 16 channels of AES, ADAT/SMUX Output
• Word Clock I/O
• All option cards (X-FireWire and X-HD) facilitate
• AES-EBU in x 8, transformer balanced, DSUB 25pin connector (192k single wide
compatible)

The AD & DA-16X converters offer the most advanced conversion system in the Apogee
product line. With up to 192k standard sample rates, the X-series converters combine
Apogee’s legendary conversion quality with the very latest in high-definition digital to
provide unrivaled flexibility and quality.
The AD-16X featuring 16 channels of
analog to digital conversion and the DA-
16X featuring 16 channels of digital to
analog conversion, both also offer Big
Ben’s C777 clocking technology, SoftLimit
and UV22HR.
We connect the X Series (AD 16x and Da
16x), digitally to the Symphony64 Card on
the Mac Pro via the onboard X Symphony
cards providing 16 channels of digital I/O,
known as the Symphony System.
The converters are installed with specialized Apogee breakout cables for easy input and
output connections.

Workstation
DAW
Apple Mac Pro
Quad-Core
One 2.8GHz Quad-Core Intel Xeon
“Nehalem” processor
3GB (three 1GB) memory
1TB hard drive
18x double-layer SuperDrive
ATI Radeon HD 5770 with 1GB
GDDR5

MIDI
Apple I Mac
3.2GHz Intel Core i3
2560-by-1440 resolution
4GB (two 2GB) memory
1TB hard drive
8x double-layer SuperDrive
ATI Radeon HD 5670 with 512MB

I-ONIX U82S
(for the MIDI workstation)
Features:
• USB 2.0 Desktop Recording Studio
• 44.1kHz to 96kHz sample rates, 24-bit resolution
• Pantheon II VST/AU reverb plug-in with 6 legendary Lexicon reverbs
• dbx® 60V high-voltage, ultra-low noise microphone preamps on all 8
channels
• Superior sonic performance
• 8 analog combi-jacks for mic/line inputs
• 2 analog 1/4" TRS balanced outputs
• Zero latency monitoring
• Low latency ASIO drivers
• Streamlined monitor form factor puts all recording controls at your
fingertips
• Separate level meters and gain control per channel
• 2 side panel 1/4" instrument inputs
• 2 side panel headphone outputs with dedicated volume adjustment
• Stereo S/PDIF digital I/O
• MIDI in and out

MIDI Controller
M-Audio Axiom Pro 61
Features
• 61-note, semi-weighted TruTouch keybed
• advanced HyperControl technology
• graphic LCD
• compatible with DAWs including Pro Tools, Logic and Reason
• 9 sliders, with auto-mute to prevent jumping
• 9 buttons complementing the sliders
• 8 rotary encoders
• 8 velocity-sensitive trigger pads
• 12 buttons in keypad arrangement
• 6 transport buttons
• 7 function keys
• aftertouch
• 1 sustain pedal socket
• 1 expression pedal socket
• 1 data/octave button
• Pitch bend and modulation wheels

Monitors
Equator Audio Research Q8
Depth (mm) (mm): 330
Features: Frequency Response: 38Hz – 22kHz (-6dB)
Height (mm) (mm): 330
Weight (kg) (kg): 15.4
Width (mm) (mm): 330
Amplification (Watts): 200
Audio Inputs: XLR and ¼" TRS jack
Crossover Frequency (kHz): 2
HF Driver: (8 ohm) 1"Titanium Dome Forward Firing
Compression
LF Driver: (4 ohm) 8"
Type of Monitor: Active

Genelec 8030A
The very compact 8030A is a powerful bi-amplified nearfield monitor
system ideal for project and home studios, workstations, installations, and
surround sound monitoring. The MDE™ (Minimum Diffraction
Enclosure™) enclosure has rounded edges and a gently curved front and
sides to achieve a very smooth frequency response and superb imaging
qualities with minimized cabinet edge diffraction.
Specification
Input format Analog
SPL
Maximum short time sine wave acoustic output at 1 m on axis in half
space, averaged from 100 Hz to 3 kHz
≥ 100 dB SPL
Maximum peak acoustic output per pair with music material
≥ 108 dB SPL
@ 1m
Drivers
Bass 5"
Treble 3/4" metal dome
Crossover frequencies 3 kHz
Free field frequency response
58 Hz - 20 kHz
(± 2 dB)
Amplifier power /ch
Bass 40 W
Treble 40 W

Yamaha MSR 400
(for the MIDI workstation)
The MSR400 provides three input
connectors; XLR-3-31, XLR-3-32,
and phone jacks. All inputs are
balanced and connected in parallel.
The input level range is from -36 dB
to +4 dB, allowing the MSR400 to
accept output from your mixer as well
as other sources such as
microphones, synthesizers, or other
electronic musical instrument. The
control section includes input level
adjustment and a two-band equalizer
so you can make fine adjustments for
optimum matching with your input
source.
Features
• Brawn and beauty: sophisticated design and powerful sound.
• High-performance bi-amplified power up to 400 watts.
• Multiple inputs for a variety of sources.
Specification
Output power
LF: 225W @ 500Hz,THD = 1%, RL = 4ohms
HF: 75W @ 5kHz,THD = 1%, RL = 16ohms
Input
sensitivity,
impedance
MIC/LINE: -36dB/+4dB, 10kohms
Connector
(Input/Output)
(all parallel)
1: XLR-3-31 balanced
2: XLR-3-32 balanced
3: PHONE balanced
Control
Level Control
EQ.LOW (+/- 3dB at 55Hz)
EQ.HIGH (+/- 3dB at HF)
Power Switch (ON/OFF)
Indicator
Power: Green LED
Clipping: Red LED
Power
consumption
110W

Presonus Monitor Station
FEATURES
• Main volume control
• Three stereo inputs (two balanced TRS, one RCA Aux/Phono)
• Three sets of balanced TRS speaker outputs each with level adjustment
• Talkback microphone with volume control to feed headphone and cue output
• XLR input for external dynamic talkback microphone
• Accurate dual 8-segment LED for metering
• Four loud and clear headphone amplifiers with separate volume control and independent
input source selection
• MAIN and CUE stereo output have independent input source selection
• DIM with variable level adjustment
• Aux and Phono level adjustment
• Mute and Mono

SOFTWARES AND PLUGINS
APPLE LOGIC STUDIO 9
• Gives you everything you need to write, record, produce, and perform on a Mac
• Ideal for "do-it-yourself" musicians; Logic Studio 9 gives you the tools to write, edit,
record, and mix your own compositions
• Includes over 80 studio-quality effect plug-ins, including delays, reverbs, vintage and
modern compressors, and more
• New Amp Designer helps you re-create the sound of 25 legendary amps and 25 speaker
cabinets
• New Pedalboard includes assortment of 30 classic-sounding virtual stompbox pedals
• 20,000 royalty-free Apple Loops (from all the Jam Pack collections) sound great on your
recordings — and onstage
• MainStage 2 lets you perform live with Logic's incredible instruments, amps, effects, and
sounds

PROPELLERHEAD REASON 4
• Powerful and intuitive hardware-style environment
• Virtually unlimited number of instruments at once
• Vast libraries of samples and patch configurations
• Seven incredible synthesizers and samplers
• Full Effects Suite with over a dozen effects and processors
• New groove and arpeggiation tools for added flexibility

CELEMONY MELODYNE
• Powerful adjustment tool lets you polish audio tracks
• Automatic and manual timing and note length correction
• Automatic and manual pitch and pitch drift correction
• Formant and pitch modulation editing
• MIDI file export
• DNA Direct Note Access technology lets you adjust notes in polyphonic audio!
• Easy to use, logical layout makes navigation ultra-simple
• Stand-alone mode or integration into DAWs using RTAS, VST, or AU format plugins
• Compatible with both Mac and PC operating systems

WAVES GOLD BUNDLE NATIVE
CONTENTS
• Q10 ParaGraphic Equalizer
• S1 Stereo Imager
• C1 Compressor/Gate
• Trueverb
• De-Esser
• AudioTrack
• PAX Psychoacoustic Analyzer
• Doubler
• Renaissance Axx
• IR-L
• Tune LT
• C4 Multiband Parametric Processor
• Renaissance Reverberator
• Renaissance EQ
• Renaissance Compressor
• L1 Ultramaximizer
• MaxxBass

THE EUPHONIX MC CONTROL
The Euphonix MC Control control surface combines the functionality of motorized
faders, programmable knobs and buttons, and an incredible customizable touchscreen
interface for maximum control. Its high-resolution touchscreen lets you easily access and
set up functions, while four touch-sensitive motorized faders, 12 Smart Keys, and eight
programmable rotary encoders make the MC Control a powerful, flexible DAW
controller!
• Customizable touch-screen interface
• 12 assignable soft keys
• 4 touch-sensitive motorized faders
• 8 touch-sensitive rotary encoders
• Jog/shuttle/zoom wheel and transport controls
• Control multiple applications & workstations via Ethernet
• 250X faster and 8X the resolution of MIDI
• Supports EuCon, HUI and Mackie Control protocols
• Studio Monitor Express software
• Slim-line design for easy studio integration and portability
The Euphonix MC control is adaptable with multiple DAWs such as Logic, Reason,
Nuendo, etc.
Along with this we also have the Euphonix MC Mix, which we use as extra fader packs
with the MC Control.

EUPHONIX MC MIX
• touch-sensitive motorized faders
• 8 touch-sensitive rotary encoders
• 8 displays for surround metering, parameter and track names
• Link up to four MC Mix units and/or an MC Control
for up to 36 faders
• Control multiple applications & workstations via Ethernet
• 250X faster and 8X the resolution of MIDI
• Supports HUI and Mackie Control protocols
• Slim-line design for easy studio integration and portability

Apple LCD Screen
27-inch (diagonal viewable image size) thin film transistor (TFT) active-matrix
liquid crystal display with in-plane switching (IPS).
• Supported resolutions: 2560 by 1440 pixels, 1920 by 1080 pixels, 1280
by 720 pixels
• Colors (maximum): 16.7 million
• Aspect ratio: 16:9
• Viewing angle: 178° horizontal; 178° vertical
• Brightness (typical): 375 cd/m2
• Contrast ratio (typical): 1000:1
• Response time (typical): 12 ms

ETHERNET HUB
This is needed to connect the Euphonix MC Control and the 2 MC Mix consoles that we
are taking to the DAW.
Netgear FS605 Ethernet Switch - 10/100 Mbps Ethernet Hub with Five Normal
Ethernet Ports and One Uplink Port
• 5- or 8-port Fast Ethernet switch instantly expands your network
• Link up to 5 or 8 PC or Ethernet devices with a fast, auto-switching Ethernet
connection
• Supports Windows® and Macintosh® platforms at speeds of up to 10 or 100
Mbps over Ethernet cables†
• Every port automatically senses the right speed and full/half duplex mode
• AutoUplink™ technology adjusts for two major types of connection cables
• Embedded plug-and-play technology—simply turn it on and it works
• Sleek, compact design

Microphones
Shure SM 57

An industry-standard, highly versatile cardioid dynamic microphone that can
be found onstage and in studios around the world. The ideal choice for
sound reinforcement and recording applications, the legendary SM57 is
tuned for clean reproduction of amplified and acoustic instruments, targeting
the main sound source
while minimizing
background noise.

Specifications

Type
Dynamic

Frequency
Response
40
to
15,000
Hz

Polar
Pattern
Cardioid

Sensitivity

(at
1,000
Hz
Open
Circuit
Voltage)

Open
Circuit
Voltage:
-‐56.0
dBV/Pa*
(1.6
mV)

*(1
Pa
=
94
dB
SPL)

Impedance
Rated
impedance
is
150Ω
(310Ω
actual)
for
connection
to

microphone
inputs
rated
low
impedance.

Polarity
Positive
pressure
on
diaphragm
produces
positive
voltage
on
pin
2

with
respect
to
pin
3.

Case
Dark
gray,
enamel-‐painted,
die-‐cast
steel
with
a
polycarbonate

grille
and
a
stainless
steel
screen.

Connector
Three-‐pin
professional
audio
connector
(male
XLR
type)

Net
Weight
284
grams
(10
oz)

Dimensions
157
mm
(6-‐3/16
in.)
L
x
32
mm
(1-‐1/4
in.)
W
at
the
widest
point

Sennheiser 421

Pretty much like the Shure SM57, the MD 421 is one of the most recognized
microphones in the world. It has various applications in recording instruments,
vocals, specially miking the snare bottom. Its excellent sound qualities enable it
to cope with the most diverse recording conditions; it’s the best with the
transient sounds. It has a 5-position bass control.
Features
• Works best with the the Transient Sounds.
• 5-position bass roll-off switch
• Effective feedback rejection
• Clear sound reproduction
• Easy handling due to pronounced directivity
SPECIFICATIONS
Pick-up pattern: cardioids
Frequency response: 30 - 17,000 Hz
Sensitivity: (free field, no load) (1 kHz) 2 mV/Pa
+/- 3 dB
Nominal impedance: 200 ohms

RODE NT1000

RODE NT1000
With its ultra low 6 dBA self-noise and transformer less SMT circuitry, the RØDE NT1000
exhibits exceptional performance when recording both vocals and instruments in the
studio.
With a full scale frequency range(20Hz-20kHz), the NT1000 has been hailed by many as
the ultimate drum over-head and grand piano mic selection. With its 1" HF-2 capsule
incorporating internal shock mounting, the NT1000 boasts a 134 dB dynamic range, and
140 dBA SPL capabilities.
SPECIFICATIONS
Power P48 (48V), P24 (24V) phantom supply
Acoustic Principle Pressure gradient
Directional Pattern Cardioid
Frequency range 20 Hz – 20 kHz
Output impedance 100Ω
Signal noise ratio >88 dB SPL (A – weighted per IEC651)
Equivalent noise 6 dB SPL (A – weighted per IEC651)
Maximum SPL 140dB SPL (@ 1kHz, 1% THD into 1KΩ load)
Maximum output
voltage
+13dBu (@ 1kHz, 1% THD into 1KΩ load)
Sensitivity -36 dB re 1 Volt/Pascal (16 mV @ 94 dB SPL) +/- 2 dB @ 1kHz

Shure PG 52
The frequency response of the Shure PG 52
is smooth and extended. Tuned specifically
for kick drum applications. Cardioids polar
pattern picks up the most sound from in
front of the microphone and some sound
from the sides. Less susceptible to
feedback in high volume settings.
Dynamic cartridge has a simple, rugged
coil. Handles extreme volume levels without
distortion
Features
• Cartridge includes a neodymium magnet for high output level.
• Internal shock mount for reduced handling noise.
• Durable metal construction.
• Integral stand mount.
• Hardened steel mesh tapered grille that resists wear and abuse.
• Includes 15ft (4.57m) cable and storage bag.
Specifications
Microphone Type Dynamic (moving coil)
Polar Pattern Cardioid (unidirectional)
Frequency Response 30 to 13,000 Hz
Polarity Positive pressure on diaphragm
produces positive voltage on pin 2
relative to pin 3 of microphone output
connector
Output Impedance (at 1000 Hz) 300 ohms
Sensitivity (at 1000 Hz) -55 dBV/Pa, (1.8 mV), 1 Pascal=94
dB SPL
Electromagnetic Hum Sensitivity 25 dB equivalent SPL in a 1
millioersted field (60 Hz)
Connector Three-pin connector (male XLR type)

PG 56
The reason I have chosen this
microphone is simply because it its
age old capability of capturing the
real sound of the floor tom and other
low mid range instruments.
Features
• Tailored frequency response is smooth and extended. Tuned specifically
for drum applications.
• Cardioid polar pattern picks up the most sound from in front of the
microphone and some sound from the sides. Less susceptible to feedback in high
volume settings.
• Dynamic cartridge has a simple, rugged coil. Handles extreme volume
levels without distortion.
• Cartridge includes a neodymium magnet for high output level.
• Internal shock mount for reduced handling noise.
• Durable metal construction.
• Integral stand mount.
• Hardened steel mesh tapered grille that resists wear and abuse.
• Includes 15ft (4.57m) cable, A50D drum mount and storage bag.

Specifications
Microphone Type
Dynamic (moving coil)
Polar Pattern
Cardioid (unidirectional)
Frequency Response
50 to 15,000 Hz
Polarity
Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin
3 of microphone output connector
Output Impedance (at 1000 Hz)
200 ohms
Sensitivity (at 1000 Hz)
-56 dBV/Pa, (1.6 mV), 1 Pascal=94 dB SPL
Electromagnetic Hum Sensitivity
26 dB equivalent SPL in a 1 millioersted field (60 Hz)
Connector
Three-pin professional audio connector (male XLR type)

Shure KSM 44a
• Dual 1-inch, externally biased, ultra-thin, 2.5 micron, 24-karat gold-
layered, low mass, Mylar®
diaphragms provide superior transient response
• Class A, discrete, transformerless preamplifier for transparency,
extremely fast transient response, no crossover distortion; minimizes
harmonic and intermodulation distortions
• Full-range frequency response (20 Hz - 20 KHz) for an extremely
accurate reproduction of voice and instruments
• Extremely low self noise (7 dBA) for critical studio vocal recording
• Premium electronic components and gold-plated internal and
external connectors
• 15 dB attenuation switch for handling high input SPL sound sources
• 3-position switchable low-frequency filter virtually eliminates
unwanted background noise
• Durable zinc die-cast housing and hardened low carbon steel grille
to protect cartridge from accidental drops
• Uniform polar response provides natural off-axis response for
critical recording
• Internal shock mount to reduce unwanted handling and stand noise
• Extended frequency response
• Very low self-noise
• Exceptional low-frequency reproduction
• High output level

• High input SPL capability
• No cross-over distortion
• Extremely uniform polar response
• Superior common mode rejection and suppression of radio
frequency interference
Applications
The KSM44/SL is designed as a premium vocal microphone for studio recording.
Microphone use, however, is a matter of personal taste. Here is a non-exhaustive
list of common applications:
Vocals -- solo, background, voice-over
Acoustic instruments -- such as piano, guitar, drums, percussion, strings
Wind instruments -- brass and woodwind
Low frequency instruments -- such as double bass, electric bass, kick
drum
Overhead miking -- drums or percussion
Ensembles -- choral or orchestral Room ambiance pick-up -- guitar
amplifier or drums

Specifications
Output Impedance 150 ohms (actual)
Attenuation Switch 0 or 15 dB attenuation
Low Frequency Response Switch Flat; -6 dB/octave below 115 Hz;
Phantom Power 48 Vdc (IEC-268-15/DIN 45 596),
positive pins 2 and 3
Current Drain 5.4 mA typical at 48 Vdc
Common Mode Rejection > 50 dB, 20 Hz to 20 kHz
Polarity Positive pressure on front diaphragm
produces positive voltage on output
pin 2 relative to pin 3
Directional Polar
Patterns
Cardio
id
Omnidirection
al
Bidirection
al
Sensitivity
(typical; at 1000 Hz;
1 Pa = 94 dB SPL)
-31
dBV/P
a
-37 dBV/Pa -36
dBV/Pa
Self-noise
(typical, equivalent
SPL; A-weighted,
IEC 651)
7 dB 10 dB 10 dB
Maximum SPL @
1000 Hz
2500 ohm load
(Attenuator on)
132
(149)
dB
138 (151) dB 137 (150)
dB
1000 ohm load
(Attenuator on)
127
(144)
dB
132 (145) dB 131 (144)
dB
Output Clipping
Level*
2500 ohm load 7 dBV 7 dBV 7 dBV
1000 ohm load 1 dBV 1 dBV 1 dBV
Dynamic Range
2500 .ohm load 125
dB
128 dB 127 dB
1000 ohm load 120
dB
122 dB 121 dB
Signal to Noise
ratio**
87 dB 84 dB 84 dB

AKG C414 XLS
Features

• Nine selectable pickup patterns enable to choose the perfect setting for every
application
• Lock Mode: all controls can be disabled easily for trouble-free use
• Peak Hold LED even detects shortest overload peaks
• Incredible Dynamic Range of 152 dB
• Three switchable different bass cut filters and three pre-attenuation levels
• Leading-edge technology and state-of-the-art components ensure shortest signal path
The new models C 414 XLS and C 414 XL II offer nine pickup patterns which
enable to choose the perfect setting for every application. For live-sound
applications and permanent installations all controls can be disabled easily for
trouble-free use. A Peak Hold LED displays even shortest overload peaks.
The C 414 XLS maintains the sonic character of the legendary C 414 B-ULS,
the longest-lived C 414 model. Engineered for highest linearity and neutral
sound, it is the most universal and versatile large diaphragm microphone for
decades. Widely used for accurate, beautifully detailed pickup of any acoustic
instrument the new C 414 XLS combines proven reference quality, leading-
edge technology and state-of-the-art components.
The C 414 comes complete with carrying case, pop filter, windscreen, and
spider-type shock mount.

Specifications
Polar pattern omnidirectional, wide cardioid, cardioid,
hypercardioid, figure eight and 4 intermediate
settings
Frequency
range
20 to 20, 000 Hz
Sensitivity 20 mV/Pa (-34 dBV) ± 0.5 dB
Max. SPL 200/400/800/1600 Pa = 140/146/152/158 dB (0/-
6/-12/-18 dB) for 0.5% THD
Equivalent
noise level
6 dB-A (0 dB preattenuation) (IEC 60268-4)
Signal/noise
ratio
88 dB
Preattenuation
pad
0 dB, -6 dB, -12 dB, -18 dB, switchable
Bass cut filter
slope
12 dB/octave at 40 Hz and 80 Hz; 6 dB/octave at
160 Hz
Impedance <=200 ohms
Recommended
load impedance
>= 2,200 ohms
Supply voltage 48 V phantom power to DIN/IEC
Powering approximately 4 mA
Connector 3-pin XLR to IEC
Dimensions 50 x 38 x 160 mm (2.0 x 1.5 x 6.3 in.)
Net weight 300 g (10.6 oz.)
Patent(s) Electrostatic transducer (Patent no. AT 395.225, DE
4.103.784, JP 2.815.488)

Nuemann D01
A/D Converter, optimized for direct conversion of
the capsule signal. New capsule design.
Additional DSP functions. Limiter (incl. de-esser).
All parameters and functions remote controllable
D-01 Specifications
Acoustic transducer: K 07 large
double-diaphragm capsule,
diameter 30 mm with protected
internal electrodes
Directional characteristic: 15
remote controllable polar patterns,
from omni to cardioid to figure-8
Frequency response: 20 Hz to 20
kHz
Free-field sensitivity1) 2)
: –44 dBFS
Equivalent noise level, CCIR3)
: 19
dB
Equivalent noise level, A-
weighted3)
: 8 dB-A
Signal-to-noise ratio2), CCIR3)
: 75
dB
Signal-to-noise ratio2), A-
weighted3)
: 86 dB
Maximum SPL at 0 dBFS: 138
dBSPL
Dynamic range, A-weighted3)
: 130
dB
Frequency response: 20 Hz to 20
kHz
Free-field sensitivity1) 2)
: –44 dBFS
Equivalent noise level, CCIR3)
: 19
dB
Equivalent noise level, A-
weighted3)
: 8 dB-A
Signal-to-noise ratio2), CCIR3)
: 75
dB
Signal-to-noise ratio2), A-
weighted3)
: 86 dB
Maximum SPL at 0 dBFS: 138
dBSPL
Dynamic range, A-weighted3)
: 130
dB
Supply voltage range:
+6 V to +10.5 V

Weight: approx. 700 g, Diameter: 63.5 mm,
Length: 185 mm
Current consumption: max. 220 mA
Current consumption: max. 220 mA

Neumann KM 184D
The legendary Neumann sound in the digital realm.
Features
• A/D conversion: Neumann process (patented),
28-bit internal word length
• Digital signal processing: Fixed-point,
variable internal word length 28 bits to 60 bits
• Synchronization: Asynchronous operation (free-running, AES42 - Mode
1),
• basic frequency accuracy: ± 25 ppm
• Synchronous operation (AES42 - Mode 2), pulling range: Min. ± 100
ppm
• Output: XLR3M, 24 bits as per AES/EBU (AES3)
Specifications

Polar pattern4)
- Low-cut: flat, 40, 80, 160 Hz
- Pre-attenuation: 0 , -6, -12, -18
dB
- Gain: 0...63 dB in 1 dB steps,
clickless
- Testsignal: 1 kHz, pink noise,
white noise
- Parametric compressor/limiter
(incl. de-esser function)
- Independent peak limiter avoiding
any clipping
- Switch functions: soft muting,
phase reverse, signal lights
- Signal lights: red4)
and blue LEDs - System functions, firmware
download
Polar pattern4)
- Low-cut: flat, 40, 80, 160 Hz
- Pre-attenuation: 0 , -6, -12, -18
dB
- Gain: 0...63 dB in 1 dB steps,
clickless
- Testsignal: 1 kHz, pink noise,
white noise
- Parametric compressor/limiter
(incl. de-esser function)
- Independent peak limiter avoiding
any clipping
- Switch functions: soft muting,
phase reverse, signal lights
- Signal lights: red4)
and blue LEDs - System functions, firmware
download
Power supply (phantom power complying with
AES42)

HEADPHONES
SENNHEISER HD 650
Sennheiser HD 650 Features:
• Top-of-the-range open, dynamic hi-fi
stereo headphones.
• Systems with narrow tolerances (± 1 dB),
hand-picked in pairs.
• High-quality titanium/silver finish.
• Specially developed acoustic silk for
precise, uniform attenuation over the
entire area.
• Specially modulated connecting cable
(detachable) made from highly
conductive OFC copper, Kevlar-
reinforced, with very low handling noise,
i.e. low structure-borne sound sensitivity.
• Extremely lightweight aluminium voice coils ensure excellent transient response.
• Exceptionally comfortable to wear due to elliptical design adapted to the shape of the
ears.
• Can be directly connected to stationary hi-fi components of the highest quality, in
particular SACD, DVD-A and CD players.
SENNHEISER HD 280 Pro
• Ear coupling: Circumaural
• Neodymium magnets for optimum
sensitivity and wide dynamic range
• Very good attenuation of background
noise
• Circumaural ear pads provide
comfortable fit
• Space-saving design with collapsible,
rotating ear-pieces
• Screw-type adapter for 1/4-inch jacks

DIRECT INJECTION BOX
RADIAL J48

It is a Active 48-Volt phantom powered
direct box with minimal power draw with
high rail voltage. It Will not choke when
driven hard. It has a 80Hz high-pass roll-
off filter which reduces mud and
increases headroom.
RADIAL X-AMP
The Radial X-Amp is an active
re-amping device that lets you
use a a pre-recorded track from
a line level device to drive two
guitar amplifiers or effect
pedals simultaneously. This
opens the door to explore new
musical sounds and spur on the
creative process. Re-amping is
one of those producer's tricks
for bringing new sounds and
textures to already recorded
tracks, and the X-Amp is
designed to to the job well.

JUNCTION BOX
Pro Co SM2404FBX-150
24-Channel Snake, XLR Female-XLR Male, with 4 XLR Returns, 150' Long
Pro Co Stagemaster 8 Channel TRS Drop Snake
8-channel Snake, XLR Combo-1/4" TRS Male, 25' Long

MICROPHONE STANDS
K&M 21021
• Extra tall heavy-duty floor stand
• Designed for studios and drummers
• Cast iron pole insert
• Long legs fold for compact storage and easy
transport
• Two section telescopic pole with noiseless
clutch
• Taller and longer than most stands
• Weight: 5.7 kg
• Height: 43.3"/79.5"
• Boom length: 42.1" Fixed
K&M 25950
Extra low profile floor stand for bass
drums or special use. One-piece pole with
cast iron base. Complete with boom. It
has a matte black finish.

K&M 21019
• Color: Matte Black
• Height: 35/63 in.
• Boom length: 18.1/30.1 in.
• Net weight: 7.3 lbs.
POP FILTER
ROYER PS-101 - Louvered Metal Pop Filter with
13-inch Gooseneck
Quantity: 3

CABLES AND CONNECTORS
1. DB 25 –DB 25 - Pro Co DA88DM100 - 8-channel Snake, DB25
Male-DB25 Male, 10' Long
2. TRS – TRS - Pro Co BP10 - Audio Cable, 1/4" TRS Male-1/4" TRS
Male, 10' Long
3. XLR – XLR – PRO CO XLR20 - Audio Cable, XLR Male-XLR
Female, 20' Long
4. XLR – TRS - Pro Co BPBQXM10 - Audio Cable, XLR Male-1/4"
TRS Male, 10' Long
5. XLR – TS - Pro Co EXHQXM10 - Audio Cable, XLR Male-1/4" TS
Male, 10' Long
6. TS – TS - Pro Co Excellines EG-20 - Audio Cable, 1/4" TS Male-
1/4" TS Male, 20' Long
7. RCA – RCA – PRO CO DKRR5 - Audio Cable, Dual RCA Male-
Dual RCA Male, 5' Long
8. ETHERNET CABLES - Hear Technologies Cat 5 Ethernet Cable
9. DB25 – TRS - Pro Co DA88BQ5 - 8-channel Snake, DB25 Male-
1/4" TRS Male, 5' Long
10.TRS – TS - Pro Co MTIP0408Q15N - 4-channel Insert Snake,
4x1/4" TRS Male-8x1/4" TS Male, 15' Long
11.TRS – BANTAM - TT BANTAM to 1/4 TRS GOLD PATCH
CABLES CORDS 18"

Signal Flow (MIDI Workstation)

COST SHEET
EQUIPMENT QUANTITY
PRICE
(Each) (Total)
MICROPHONES
Shure SM 57 2 100 200
Shure PG 56 1 69 69
Shure PG 52 1 119 119
SENNHEISSER 421 1 379 379
NEUMAN D 01 1 4500 4500
Nuemann KM 184D 1 (set of two) 849 849
RODE NT 1000 2 325 325
AKG 414 2 1043 2086
TOTAL 8527
Neve 4081 (Quad Pre) 2 3283 6566
PRESONUS HP 60 1 300 300
Behringer Ultrapatch 1 40 40
APOGEE AD 16X 1 3199 3199
APOGEE DA 16X 1 3149 3149
EUPHONIX MC CONTROL 1 1499 1499
EUPHONIX MC LIVE 3 1000 3000
NETGEAR FS605 1 30 30
MAC PRO 1 6,446 6446
I Mac 1 1699 1699
Equator 2 2117 4234
Genelec 8030A 2 1349 2698
Yamaha MSR400 2 579 1158

PRESONUS MONITOR STATION 1 300 300
SEINHEISSER HD 650 2 500 1000
SEINHEISSER HD280 PRO 6 100 600
LEXICON I-Onix U82 1 869 869
M-Audio Axiom 1 1320 1320
Logic studio 1 499 499
REASON 4 1 300 300
APOGEE SYMPHONY 64 CARD 1 995 995
SYMPHONY X CARD 2 180 360
RADIAL J48 ACTIVE DI 1 200 200
RADIAL X AMP ACTIVE DI 1 200 200
PRO CO SMA 2404 XLR 1 912 912
PRO CO STAGEMASTER TRS
DROP SNAKE
1 280 280
K & M 21021 OVERHEAD MIC
STAND
2 120 240
K & M 21019 MIC STAND 8 83 664
K & M 25950 MIC STAND (FOR
KICK DRUM)
2 82 164
CONNECTORS AND CABLES
DB25 – DB25- Pro Co
DA88DM100
6 75 450
TRS – TRS – PRO CO BP10 10 20 200
XLR – XLR – PRO CO XLR20 10 25 250
XLR – TRS - Pro Co BPBQXM10 10 20 200
XLR – TS - Pro Co EXHQXM10 5 20 100
RCA – RCA – PRO CO DKRR5 5 22 110
TS – TS - Pro Co Excellines EG-20 10 16 160
ETHERNET CABLES - Cat 5
Ethernet Cable
7 17 119
DB25 – TRS - Pro Co DA88BQ5 4 98 392
TRS – TS - Pro Co
MTIP0408Q15N
1 set 100 100

TRS-BANTAM 2set 38 38
TOTAL 2119 2119
Vents, Ducting and Reinforcement 3500 3500
Whirlpool 1 ton split AC 2 913 1826
Floating floor for the Control room
and Recording room
7500 7500
Hanging Ceiling for Control room
and Recording room
2500 2500
Dry wall for Control room and
Recording room
2550 2550
Caulking 100 100
Rubber Gasketting 120 120
Window Construction 3500 3500
Electrical conducts, cables, circuit
brakers and switches
15000 13000
Aeron Chair 3 680 2040
Furring channels/kinetic fittings 150 6850
Labor 5500 5500
Gypsum board 4347 4347
BBC/ Absorbers/ Diffusers 775 4650
Miscellaneous Construction
Materials - Tools, Bulbs etc
110 110
Tama Superstar SL Hyperdrive 1 1870 1870
GRAND TOTAL 113530

Conclusion
It was great fun working on this project. This project helped gain knowledge
about each and every aspect of a studio construction. It is during this project
when I realized that I really like the whole concept behind the studio
designing, construction and treatment.
This Studio Design also made me aware about the various products
that are out there in the market and I am hoping that this should really prove
helpful in my professional life.
Talking about my design, which I started working on two months
back, I believe to have achieved a decent level of satisfaction, but extreme
level excitement that I could complete this project with the deadline. The
Boom Room is nothing less than my dream studio and now I can feel the
attachment with it.
It was during this project when I decided to learn animation just to
present the boom room in a better way. The idea is great and very applicable
and I am hoping that the college would believe in the boom room as well.
The Budget is well utilized leaving merely about Rs. 4680 left which
is a pretty good threshold for a hypothetical studio.
Everything looks great, it’s just that I wish the Boom Room actually
existed. Well maybe not, because if it did, I would have never gotten the
chance to build it.
Regards
Siddhant FNU
ID No. 20544
Batch 25
Special Thanks
Sweetwaters.com for the reference

Construction of the Boom Room Recording Studio

Recommended

Recommended

More Related Content

What's hot

What's hot (20)

Similar to Construction of the Boom Room Recording Studio

Similar to Construction of the Boom Room Recording Studio (20)

Construction of the Boom Room Recording Studio