Here are plans for the studio layout….
We will have a side table to the right (use as side work station with wheels.....likely have SSL UF8/UF1/UC1 as control service with another screen) with four rack spaces underneath for Bricasti, Manley Vox Box and two WesAudio NG Levellers:
First off I am confident in our gear list, but welcome and open to any other suggestions. This is a new space for both of us so just felt like getting some feedback.
The side table will allow for the top surface to be used as space to work ITB. Our studio is a reconfigured home studio so space is tight hence the use of 500 series EQs and compressors on the console itself (thankfully the Trident 88 32 ch is just over 53 inches wide; we will need 32 ch. as we will be tracking drums as well as occasionally live small bands); there is also an upright Yamaha piano, several keyboards; an array of guitars (acoustic and electric, including basses, resonators and lap steels), a banjo and a mandolin. We are using every part of an apartment; the kitchen for drums as well as guitar and bass; even occasionally the bathroom for vocals or amp booth; the piano is in the bed sitting room.
We intend to mic most of the instruments permanently, which should make for easier setup for recording. Our approach is an open room approach essentially similar to that of Daniel Lanois or Sylvia Massy. For those rooms we are not directly in there will be video cameras used as well as headphones (and headphone monitors). We have used this space to record in before and understand the sonic characteristics fairly well enough to get good recordings from.
Eventually we will be a larger space next door that is two floors in an old garage that is essentially a concrete bunker on the first floor with a ceiling height over 12 ft. and 1000 sq. ft. This will allow for an adequate live room (about 450 sq. ft) as well as a proper control room (about 300 sq. ft.); upstairs will be a lounge and mixing room (possibly also set up for immersive mixes); and a small reverb room/echo chamber.
And the smaller space will remain as pre- and post- production, as well as singer/songwriter.
We are doing some indie music but doing more music production these days for TV & film, as well as soundscapes and even music for various arts performances.
We prefer working in a hybrid format.
The idea of 500 modules as they are is to have that close at hand, though the Trident 88 has very musical EQs and are almost all that is required. (we spent last week on a new Trident 88 32 ch. console and loved it; fits well into our workflow; we decided on the Trident 88 based on that studio time).
Eventually once we move into the larger space we may go more to rack gear.
We are seriously considering the Behringer headphone monitors. They do all we need and more plus very cost effective. A lot of bang (and boom) for the buck.
We may not have Daniel's expertise, or that of Sylvia's, but it is what works for what we have. Though if the Trident 88 is good enough for Daniel Lanois it is more than good enough for us.
Having a rolling cart with 19” units wired up to our patch bay has been considered, but again trying to preserve space which is at a premium; we believe our setup will allow for more optimal use of space we have. Not a fan of Flock or digital patchbays, though there is an interesting version coming soon for those so inclined from Wolff Audio using relays rather than chips.
If isolation is needed we do have such things as go-bos.