AES Section Meeting Reports

Colombia - March 26, 2015

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For the Panel Architectural Acoustics in the Recording Studio, some of the most renowned professionals in recording studios acoustic design from our country, shared their experience of the ideal practices to achieve the best results in acoustics for the control room and live room in a professional recording studio. For this occasion, the event was held at the auditorium of SAE Institute Bogotá and Sound Logics offered technical support for the event.

The panel was moderated by Lucas Serrano, sound engineer and founding partner of Aqstica and who has designed and built over 50 recording studios such as WLRS, C1 Mastering and Camilo Silva F Mastering. The panelists were the architect Juan Pablo Rozo, Arquitorium Manager and acoustic designer for spaces such as the Teatro Colón, Teatro Santa Marta and Teatro Astor Plaza; sound engineer and Master in Environmental and Architectural Acoustics Marco de Barros, dB Acoustics Manager and who has designed and built studios like EON Studio, Old Providence Records and Tambora Records; and the sound engineer Alvaro Llano, Alltech-Audio Director and designer and consultant for Music Time Studios, QRS Studios and the Full Dome Surround 16.1 Planetarium.

The panelists began with the topic Control Room vs Live Room. Panel members recalled the main acoustic features that must be considered for the design and construction of each space. Then, they proceeded with the LEDE concept, denoting on the paradigm if the criterion is still valid or obsolete. Also, various acoustic solutions for low frequencies in acoustic conditioning and isolation were specified. One of the biggest issues that professionals have to encounter and one of the most interesting topics for the audience.

Subsequently, the moderator suggested that the panelists share their opinions on the importance of the dimensions of the rooms and what specific challenges they have to encounter in reduced spaces and extremely large rooms. Panel members specified the exact dimensions they consider appropriate for Control Room and Live Room design and some important considerations regarding the geometry of both rooms.

Finally, they proceeded to explain recommendations for the monitoring system according to the physical and acoustical characteristics of the room and the effects that the monitoring systems could have on the room. Continually, considerations for structured wiring and electrical systems in recording studios were specified and it was denoted how this may be the weakest link in the chain since it is the connection between the Control Room and Live Room.

The panel ended with a questions and answers session from the audience within the topics discussed at the event. After the panel, it was evident the great satisfaction of the audience in front of the information presented by the panelists. For the event sound engineers, producers, sound engineers, architects, musicians and structural and civil engineers attended the call and many assistants were interested to join the Audio Engineering Society.

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AES - Audio Engineering Society