This leads to a rather complex and major technological innovation, whose theory is still in its infancy.’ ‘It has been largely empirical, inspired by aesthetic aspects, and based on hybrid low-velocity laminar ports using progressive termination. ‘The aerodynamics of Philharmonia’s tuning ports is a masterpiece,’ Deluc claims. The components have been carefully selected, while the amplifier includes a built-in DSP module with digital filtering functions such as system EQ, time alignment between HF and LF sections, limiter parameters, thermal protection of the transducers.
#Amadeus pro mixing professional
This proprietary technique is in part inspired by Amadeus-designed professional Mains monitoring systems used in large recording studios, the ‘crossed structure’ itself drawing on aircraft manufacturing processes, particularly wing design.
‘This allows a dramatic decrease in sound coloration through a crossed structure of longitudinal and trans-verse reinforcements. ‘The distinctive construction technique of Philharmonia helps neutralise standing waves affecting sonic clarity and low-frequency definition, through an extremely complex internal structure using a combination of interlocking panels arranged in two perpendicular planes, each hosting several tuned notch resonators,’ Deluc says. It features a hybrid laminar port using progressive termination. The Philharmonia design features a curved structure consisting of 547 wood veneers accurately machined and assembled. Each studio is equipped with a unique surround monitoring system, comprising five Amadeus Philharmonia speakers, along with an Amadeus ML 15 D subwoofer. The Studio Salle de Répétition has custom acoustical treatment, very similar to the treatment used in the Studio Grande Salle. The main Philharmonie de Paris rehearsal room hosts not only public orchestra rehearsals, but also pre-concert events, conferences and chamber music/amplified music concerts. ‘This specific project required an acoustical response combining high clarity, great intimacy and depth, echoing the choices Yasuhisa Toyota and Sir Harold Marshall made for the Grande Salle.’ ‘The acoustics I design aggregate a lot of techniques, imagined and developed during the past 30 years for various complex spaces,’ he continues. We have many successes in the field of acoustical and/or electro-acoustical custom design. ‘Our inclusive approach and dual expertise have made us able to create perfectly imagined spaces where the acoustical response has been perfected, ready to house the monitoring systems we design in parallel. ‘Having acoustics and electro-acoustics match up is a basic premise of our design philosophy when designing and equipping spaces dedicated to creation, mixing, mastering, postproduction or dubbing, or just high-level listening, among other tasks,’ says Michel Deluc, co-founder and R&D Manager for Amadeus. Built to host the world’s leading symphonic orchestras, the mixing and mastering studios required a monitoring system of upmost transparency, placed in optimised acoustic spaces. With its design, ergonomics and acoustics devised by Yasuhisa Toyota of Nagata Acoustics and Sir Harold Marshall from Marshall Day Acoustics, the Philharmonie de Paris is among the most prestigious symphonic halls in the world. Amadeus Labs collaborated with the studio’s sound engineers, while continuing to work alongside Jean Nouvel, the Philharmonie de Paris’ own architect and designer. The project required Amadeus Labs to re-design of both of the prestigious Philharmonie de Paris concert hall’s studio control rooms and main monitoring.
#Amadeus pro mixing install
Amadeus has announced the completion of a new install and acoustical design project for the Philharmonie de Paris concert hall studios, including the use of a Lawo digital mixing console and Amadeus Labs Philharmonia reference loudspeakers.
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