The success of a studio depends largely on a good (recording) acoustic. A variety of starting pints and possibilities are available to achieve this. For control rooms the “live end – dead end” principle is often applied of the acoustic. The dead-end side of the room serves monitor loudspeakers which have to be able to reproduce an uncoloured sound and with correct source localizations. The live-end side of the room is beneficial for artists who are making music there. Similarly this live-end environment provides supporting ambience to the sound engineer who is giving the recording a beautiful sound. Other design principles for a wide range of applications are of course also used. SIAP can provide a useful acoustic completion.
The area around Maarschalk Gérardstraat had been built up for some time, but the construction history of De Studio itself dates back to 1780, when Baron François-Joseph van Ertborn had his city palace built there. He belonged to the wealthy banking and lawyer family, van Ertborn, and was married to Jeanne van de Werve, who had inherited the original building. She was the daughter of Count Charles Philippe van de Werve and Marie-Anne de Prêt. François-Joseph van Ertborn had a city palace built there according to the latest fashion. Because of its stylistic features and van Ertborn’s links with Freemasonry, it is believed that the palace at the time was a creation of the French neoclassical architect Barnabé Guimard.
The recording room itself, where the music is made, not only determines the final sound quality, such as “sound stage”. Musicians prefer to experience an inspiring sounding room. Of course can acoustics be “added” to the recording during editing as a reverberation effect.
An appropriate acoustic in the recording room itself which is picked up by beautifully sounding microphones, has its advantages too.