STUDIO

From  1997, continuously

Conceived for modularity, the project developed by architect Michela Casazza  offers  high comfort.

 

The structure consists of 4 interconnected study rooms. Each studio can be used for sound recording or as a director, since the machines reside in special independent rooms.

 

All rooms are equipped with air conditioning and wireless connection. Internet access is via fiber optic at 100 Mbps and we have an internal ftp server for the transfer of files, with personalized accounts for each customer.

 

Instruments:  Yamaha 9000 Custom Drums, Yamaha C5 Piano (Disklavier), Fender Rhodes Stage Piano, Kaway EP308 Stage Piano, Yamaha SY77, Yamaha TX802, Roland MKS50, Roland D550, Roland U220, Navation NOVA

MUSICAL PRODUCTION

 
Technology fascinates us  but when it surpasses the reason why it exists  we gladly take a step back

NOT JUST TECHNOLOGY

A musical project deserves the work of people prepared, passionate and willing to understand the musical universe of each artist, and to make it concrete with his sound.

These people have special gifts.

The operating techniques are many and it is important to know them in order to choose the most suitable ones to satisfy  expressive needs and budget.

 

Especially in the symphonic field, it is important that there is a musical assistant who shares the musical taste of the artistic director and who is prepared to work alongside him.  in the same challenges he faces.

We expect precision and reliability from our machines. We aim for excellence and technologies help us in this. We are well equipped and if you need something (or a lot) more we can get it.

 

For us, being at the forefront means favoring artistic expression and not dispersing it in one  too complex technological flow.

TO CHOOSE WELL

Who is familiar with the  technologies  of a modern recording studio,  you know  you need great microphones, high preamps  headroom , state of the art converters,  word clock  stable,  etc., etc.

But we must also consider that necessary set of skills  to obtain from these technologies the expected results for each type of production that is being faced.

For example, artfully positioning an array of 6, 10 or 40 microphones is an expert craftsman's job as is recognizing the difference between the sound of a Mozart symphony and a Brahms symphony, as is exploiting or hiding the strengths and qualities. defects of an environment in which to film a concert.

 

This is the basis and precisely because of the importance of  these aspects do not exist in competition in our sector but there are different technical personalities and different musical sensitivities.

 

Our interlocutor does not judge by evaluating the lowest price because price is not the parameter that will ensure that you spend your budget well.

At the same expense what  does  the difference is the know-how.

 

MASTERING

There is no magic formula nor is there a standard method. Be wary  by those who affirm it.

DIGITAL AUDIO

We started mastering in 1997 using  digital technologies ever since. Selected and evolved tools for that period: Sonic Solution, Penny + Giles, z-Sys, Weiss.

Tools that were not even easy to find, to the point of forcing us to commission  the "custom" construction of devices that did not exist!

We needed profound expertise and a great attention to sound quality so that the dark sides of digital technology did not affect the analogue sound.  to which everyone was now accustomed and fond of. But that  more precision and the fluidity in the workflow that the IT world allows, had already shown us the new path.

Studying all the  more hidden aspects of sound, acoustics and psycho-acoustics, combined with the ability to accurately apply truly efficient manipulation techniques thanks to digital technology, has led us to improve, refine, experiment and then successfully use new techniques as well microphone during recordings, especially of large symphonic ensembles and live footage, sometimes combined with video footage.  All this always with the sole aim of bringing out the music and in particular its expressive power .

Thinking of "sound" as an instant element is a big mistake . Music develops thanks to the time that passes and evaluating the sound by judging it in a few seconds only means not having as objective "the end" but only "the means". Sound is a physical phenomenon but music is an expressive, communicative, social phenomenon.

TIMES CHANGE,  THE TOOLS AND PRICES

 

The sound world of artists always deserves the best. That's why Tranquilo has  always offered a preferential access line for all to the mastering phase.  

We started at the beginning of the  90's  when the first digital cameras had to rival the sound of analog devices and to have a comparable response it was necessary to invest huge sums. The practicality and fluidity of the workflow that a digital device allows, already had  convinced that the future would be "digital".

As with all technical devices, the quality of the components and the goodness of their design and construction  they are strongly discriminating variables. Digital technology is complex and must be faced with awareness in order not to fall into operational errors and ingenuity that can make us regret, in the end, analog technology.

Knowing how to choose the best technologies available,  understanding its limits and potential are the preliminary stages of an evolutionary path that leads to the same goal that all those (artists and technicians) who are involved in a production aim to achieve.

In the 1990s we launched a  a service that was called Esymaster® and which guaranteed quality and sound competitiveness also to  independent productions with limited budgets.

Today our focus on independent musicians is still  a priority.

 

Sound is the medium that can make music take off. And we know how to take care of it.

Our offer is affordable and of high quality.