When it comes to our clients you get one shot to get their recording studio right. Almost never is there enough money, time and energy left over after a studio project so that you can redo some non-working part of a recently finished project. That means when we’re involved we know we have to get it right the first time…
In the early days, ASC sold products to engineers who were trying to fix their problems, and we still do. But, after 30 some years of this, we’ve learned a lot about how to fix a studio and even more important, what not to do when building a studio. When we join in at the beginning of a studio project, we’re not fixing problems. We’re making sure there are no problems to fix.
Discover why Grammy Award-winning Recording Engineers & Performers choose Acoustic Sciences to shape the sound of their professional recording studios.
ASC is the pioneer and leader in factory-built modular professional recording studio acoustics. But it was our clients, those early recording engineers who blazed the trail. They had a problem to fix and knew what they needed and where they needed it. We designed, voiced and built the products they needed. And one of the requirements always was to get it done quick.
In the early days we were suspending TubeTraps from the ceiling and stacking them along the walls and in the corners to deal with vertical and horizontal acoustic energy reflections, reverb/mode decay rates and stimulating diffusion.
Then we developed half-round and quarter-round TubeTraps, studio-grade acoustics that could be mounted on the surface of walls, corners, and ceilings instead of stacking and hanging round cylinders. This evolution in our product line wasn’t our idea, it was what we could do in response once again to our clients, recording engineers who wanted more floor space and a more architectural studio look. We kept the upper treble diffusing panel in this new line of surface-mounted traps but it was no longer adjustable as it was with the full-round TubeTrap.
Then the third stage of our product line that services the pro audio industry took place. Because of the “Lego” aspect of TubeTraps, recording engineers kept fooling around with them, stacking them and moving the stacks around in open space, following their ears until the AttackWall and the QuickSoundField were developed. We entered the realm of free-standing studio acoustics and developed the StudioTrap. We weren’t too far away from studio gobos but a lot more focused on what the engineer’s ear hears and what the microphone picks up. With these professional acoustic systems, AttackWall for mixing and the QSF for tracking, a functioning professional studio can be set up in a matter of hours.