Eastcote chooses PMC monitors for its new Dolby Atmos music mixing studio
UK – The quality and diversity of PMC’s professional speaker line was one of the main reasons Dyre Gormsen chose the brand’s monitors for Eastcote Studio’s new Dolby Atmos music mixing room.
Housed in Eastcote’s mastering studio, which has been completely redesigned to accommodate the new system, the monitoring system integrates result6 PMC speakers in an LCR formation and PMC Wafer2 monitors for the height and surround channels. The system was supplied by HHB, who also supplied Crown amplifiers, a Pro Tools / MTRX Studio audio interface, and a MARANTZ Dolby Atmos receiver for reference.
âI chose PMC monitors after visiting the company’s Dolby Atmos demo studio in London,â says Gormsen. âI was looking for different monitoring solutions, but I thought the PMC speakers were the best option for my room. They seemed to be on roughly the same wavelength as I particularly like the clarity of their monitors and the fact that they give me an extremely precise point of reference.
Based in Ladbroke Grove in London, Eastcote Studios has been a major landmark on the UK recording studio map for over four decades. Originally founded in the 1970s by Chaz Jankel of Ian Dury & The Blockheads and engineer Philip Bagenal and now owned by acclaimed producer and musician Martin Terefe, Eastcote Studios has hosted a wide range of artists including Adele, Arctic Monkeys, Mumford & Sons, Depeche Mode, Placebo, Electrica, Neneh Cherry, Tricky, Seal, Suede and Massive Attack, who recorded their flagship album Blue Lines at the facility.
Gormsen started his career as a freelance live sound engineer in Denmark in 1993 and has accumulated a lot of studio experience both as the owner of his own facilities, Sauna Recording Studios in Copenhagen, and in d ‘others like Vega Copenhagen. He moved to London in 2003 and soon after started working at Kensal Town Studios as Martin Terefe’s engineer. He is also sound manager at Laylow, a private club based in London.
As director and senior engineer at Eastcote Mastering, Gormsen was instrumental in guiding the studio towards Dolby’s immersive Atmos audio mixing format.
âWhen I first discovered Dolby Atmos for music and realized the power of immersive sound on headphones, there was no going back for me,â he says. “This format is extremely attractive to the listener, both on headphones and speaker systems.”
To accommodate this new way of mixing, Eastcote’s mastering studio has moved from a normal stereo setup to a Dolby Atmos 7.1.4 system. The whole process took six months, from the initial planning to the final two weeks of construction and installation.
“We decided to install the Atmos platform in the mastering room because it gives me the possibility to work with both the mixing and mastering platform and the new Dolby platform for perfect control” , explains Gormsen. âWe worked closely with Dolby to make sure the room met Atmos specifications and it was a very exciting and revealing project. Throughout the process, HHB was extremely helpful and offered plenty of advice and expertise on the technology behind Atmos. They were absolutely brilliant. PMC arrived quite late in the design process, but was extremely efficient and helpful in finding the right speaker combination for my room. Overall, this whole project has been an extremely positive experience.
Gormsen adds that the collaboration between Dolby, HHB and PMC is working very well and he is satisfied with the results obtained at Eastcote.
âAdopting the Atmos Music Mixing format has been a pretty steep learning curve, but it’s extremely exciting to enter this new world of sound,â he says. âI really enjoy mixing Dolby Atmos and we’ve already undertaken a number of projects, including Jack Savoretti’s new album, Europiana, and tracks from new and emerging artists like Henjilla and Sitrekin, which are available on Apple Music. There is a lot of interest and curiosity around Atmos Music and my clients can’t wait to try it out.
Gormsen adds that Apple Music’s decision to embrace immersive audio is also a big boost.
âIt’s time for music to have an alternative to stereo and overly compressed and powerful masters,â he says. âI think there is room for both as they are two different experiences, and I hope Apple’s involvement inspires artists and producers to create great sounds in Atmos and in stereo so that the music sounds even better. We are in 2021 and we need better sound than mp3.