Neumann Monitors for Immersive Audio at Bauer Studios / Germany posted: 25/08/2021 Bauer Studios in Ludwigsburg has been among the top addresses in the German recording scene - for over 70 years! All the big names of German-language pop music have recorded here: Udo J rgens, Reinhard Mey, Herbert Gr nemeyer, to name but a few. International stars, too, such as Stevie Wonder, Chaka Khan, Miles Davis, Pat Metheney, and Al Di Meola. It was never a question of pandering to the mainstream. Bauer Studios has earned an excellent reputation for high-quality jazz recordings in particular, including a legendary live recording adored by jazz lovers all over the world:
The K ln Concert by Keith Jarrett
The main attraction of Bauer Studios has always been Studio 1, with an analog Neve console and a live room of almost 2,000 square feet that provides ample space for orchestras and big bands. And for the Studio Konzert series, which is recorded live in front of an audience on 2-track analog tape and later distributed exclusively on vinyl - via Bauer Studios' own record label.
Since 2017, Bauer Studios has been run by a new management duo, Bettina Bert k-Thumm and Michael Thumm. But the founders' philosophy is continued with great consistency. After all, Bauer Studios has always been characterized by a pioneering spirit. When Bauer Studios opened in December 1948, it was Germany's first private recording studio. In the late 1950s, Bauer Studios became pioneers of stereophony. So it's only logical that the possibilities of immersive sound are now being explored.
We do have a tradition of looking forward, explains Michael Thumm, sound engineer and managing director. What is there that goes beyond stereo? Whats next? We enjoy exploring new things, and I think thats why were still around after 70 years.
Michael Thumm, sound engineer and managing director of Bauer Studios in the redesigned control room of Studio 2
Studio Conversion as an Opportunity for Immersive Audio
Studio 2, which had previously been little used and was past its prime, was to be converted for film sound mixing. At least that was the original idea. Both Michael Thumm and his colleague Bettina Bert k-Thumm had completed their Tonmeister studies at the Babelsberg Konrad Wolf Academy of Film and Television (today: Film University) in Potsdam. So they were very familiar with multichannel formats, as cinema productions have long relied on surround sound - and now increasingly venture into immersive audio formats.
Michael Thumm: It quickly became clear to us that if we're building a studio in 2017, it would be stupid not to consider an immersive format. It was a relatively small step to screw four more speakers to the ceiling. With film sound in mind, we made a conscious decision to go with Dolby Atmos, even though Auro 3D played a bigger role for music productions at the time. We figured that Dolbys connections to the movie business would give it a greater influence on the market. And that's what we see happening now. For example, Universal is having their back catalogue mixed in Dolby Atmos at Capitol Studios in Los Angeles.
The newly designed Studio 2, optimized by Markus Bertram (MB Akustik), was therefore to be equipped with a monitoring system that supports common surround formats as well as Dolby Atmos. When it came to choosing the loudspeakers, Neumann studio monitors were quickly selected as the first choice.
The redesigned Studio 2 is equipped with an Avid S6 console, which also serves as the monitor controller for the 5.1.4 or 7.1.4 setup.
Neumann Monitoring for Maximum Compatibility
The decision to use Neumann actually had nothing to do with immersive, explains Michael Thumm. A decisive factor was compatibility with other studios and with their sound engineers' listening experience. Neumann monitors were in many TV mix rooms, they were used at the university, and many recording studios are now also equipped with them. We spoke to many fellow sound engineers before we made our decision: What studio monitors do you know? What do you prefer? I personally like the Neumann studio monitors; I have used them frequently and have always been able to achieve great results. Our sound engineer colleagues here at Bauer Studios also agreed on Neumann monitors. Moreover, we also rent out Studio 2 to external sound engineers. We therefore wanted loudspeakers that everyone would feel comfortable working with. Everyone knew the Neumann monitors, and we often heard, I've got the small ones at home!'
The consistent sound image within the KH product line also plays an important role for the monitoring system in Studio 2 because different models are used: Five KH 310s form the surround circle. If necessary, we can add two more KH 310s for 7.1. The subwoofer is a KH 870, and four KH 80 DSPs are used for the height layer. So its a 5.1.4 or 7.1.4 setup.
Studio 2 in action: all eight sound engineers were allowed to remix their productions in Dolby Atmos.
New Mixing and Listening Experiences
Among the first productions that used the new possibilities was Wer 4 sind (2019), a film documentary celebrating the 30th anniversary of German rap pioneers Die Fantastischen Vier. That was natively post-produced in Dolby Atmos. In the music sector, there are requests, but demand is not huge, so far.
Part of the reason, of course, is the Covid pandemic; many productions couldnt take place. But instead of sinking into depression, Bauer Studios decided to use the time wisely. Michael Thumm: The opportunity arose for the eight sound engineers employed at Bauer Studios to gain experience in immersive audio. So all the sound engineers remixed their productions in Dolby Atmos. We got to grips with the format, played things back to each other; we discussed our work and had fun discovering: what is pos
