Since I had to abandon my first studio in Beijing due to the building being damaged from electrical fire, I’ve had to build a new studio.
I’ve chosen the location where I originally planned to set up the studio when I first decided to open one in Beijing, Real Life at Hegezhuang village.
It’s an amazing idea that China would do well to support more. They are taking traditional Chinese courtyard homes and modernizing them by renovating the inside. I’ve chosen to add a soundproofed booth and control room to the courtyard area of mine and luckily have found a great acoustic design company in Beijing to help me do it. Thanks Wayne from Snipersounds for the referral.

This studio will be unlike any I’ve ever heard of. It will have a traditional yet modern feel, with lots of light, and glass skylight which would usually be impossible acoustically, but I’m determined to break new ground and do away with the studio in a box idea. This is possible due to the latest in acoustic materials,  software and hardware to tune the control room (no more cheezy egg carton foam!). Maybe I’ll elaborate more in future once it’s all done.
The recording room is a double walled room within a room of course to ensure quiet but comfortable recording of even a full live band.
You can get more of a sense of the space and cool vibe this place has going on from these photos:

Studio entrance with courtyard skylight visible

Recording room entrance (second sound proof door is missing)

View of the control room from the adjacent room

first wall goes up inside the recording room

Front door looking into open control room door

The place will also have a kitchen and lounge, and a few bedrooms so we can live there and I won’t have to commute. There’s even a little guest room if you want to come visit.

I’ve never built a studio to this level before, but thanks to affordability of Chinese labor and materials, here, it’s possible.
Thanks to the many people assisting me to make it all happen, without them and a few miracles, it would never have been possible.
A few more weeks to go and I think we’ll have one of the coolest sound studios in Beijing!

In my last post I talked about how the quality and natural dynamics of music is being destroyed through digital software technology that allows unnatural processing of audio.

But there is a much greater threat to the quality of audio that has been the subject of my thoughts for some time now: The way we listen to sound.

Back in the 1970’s the quality of sound recording technology, production techniques and playback systems reached a pinnacle with some of the most incredible music and sound humanity had ever known, and this became further fine tuned in the 1980’s. Brilliant, rich full spectrum sound that went beyond the range of human hearing, but influenced the richness of the sound through frequency harmonics that enhanced what we could hear with our ears.
Two things initiated the downward spiral that has led us to where we are today: The Walkman and the CD.
Very briefly, the walkman influenced music lovers to listen to music on crappy little earphones, and the CD chopped off audio at 20kHz without researching the influence of harmonics above that hearing range on sound we do hear. This is why vinyl records really are better sounding than CD’s in many ways.
From there, the convenience of sound gave way to clarity, and quality until we come to the present day world, of massively widespread use by the majority of music and audio listeners of terrible sounding MP3’s played on the worst possible sound producing devices humanity has ever experienced: earbud iPod headphones, computer laptop speakers, and cel phones! And this doesn’t even begin to cover the music and production tools and techniques prevalent with the trend of do it yourself computer production.

To a producer like myself who has spent over a decade mastering the subtle art of trying to perfect music and sound, this trend is devastating to say the least. And if you ever compared how music sounds on a really nice hi fi stereo system (you know like the ones they used in the 70’s) with a computer laptop speaker, it would make you nauseous. You lose something like 80% of the sound! But that introduces another problem- people don’t really know what sounds good and what doesn’t, maybe because they have become so used to listening to terribly reproduced sound, in my humble opinion and experience.
(Just as a benchmark, and cost is by no means an accurate measure, if your speakers cost less than $500, they are probably cheap garbage that sounds terrible!)

This has brought up all kinds of questions for me with regard to what I do as a profession… Why create great sounding 24 bit 96kHz audio if it is going to end up at 80% of what you created? For the 20% of people that like good sound?
My only answer is to become more involved in the film industry side of audio production as a sound designer, since at least sound is formatted and reproduced in higher fidelity than with music. So that is what I have gradually been doing. A film I worked on last year is hitting the theatres in September here…

I truly feel for the future of music in an environment where it is so under appreciated. It makes me wonder what the future holds for someone in a profession like myself and wether or not there will even be the need for professional producers and engineers if no one can really appreciate or notice their efforts.

For those of you reading this who don’t really know what I’m talking about, you don’t know what your missing!