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June Audio Recording Studios - A Wes Lachot studio in Provo, Utah
Old 23rd July 2019
  #181
Cool thread and build. Thanks for sharing it...great pics and commentary.
Old 25th July 2019
  #182
Wow!
Old 25th July 2019
  #183
7+1
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Was in a few weeks ago and it looked spectacular!

Scott, this is gonna be an amazing studio!!!
Old 25th July 2019
  #184
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Thanks Mark, here's hoping!

I am happy to report that this morning we finally were able to fire up the 4 HVAC systems for the studios and things work very well, and are very very quiet, so that is a big win, especially right now while it's so hot!
Old 29th July 2019
  #185
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#39

I spent a lot of time this week working on logistics and plans for the new studio. Moving from one studio to two brings a lot of changes, including adding a studio manager, inventory changes, new calendar needs, etc etc. Suddenly things have changed from “the studio will be finished some day in the future” to “we have 3 weeks to get everything ready!” It’s looking like we will have at least one studio up and running in August, if not both.



It took a number of weeks but we finally got asphalt. It’s great to finally have a rear parking area and to have things cleaned up around the edge of the building, but even more important it means that the HVAC condensers were able to be placed.









A large part of the work and expense in the studio build is the HVAC system. Making sure that things work properly and most importantly quietly takes a lot of preparation and work. We have yet to really run any detailed tests, but we were able to get the units working and so far everything seems to be great and very very quiet.



Provo City has a mural program that helps pay for outdoor murals. Most tend to be fairly small but they really wanted to make something large on our building. The artists are pictured here working on the background.



Brett Acoustics continued inside with more framing work and installing the track that will hold the fabric in the studios.



Brett Acoustics also installed the bifusors in tracking room 1. As you can see these have been built for years waiting to be shipped and installed.



The bifusors are about 11.5’ tall, diffusive on one side and absorptive on the other.






The bifusors sit on an aluminum L bracket with a similar bracket holding them on the top. They are then free to be turned from the absorptive side to the diffusive side which will dramatically change the acoustics in the room.



This is the diffusive side, with Brett Acoustics / Wes Lachot’s propriatary stepfusor design.



….and the absorptive side.



Next project will be hanging the clouds in studio 1. The clouds Wes has designed are just amazing looking and I can’t wait to see them hung.



Getting the clouds hung and arranged correctly and neatly takes a lot of math.







The rear of one of the hex clouds showing the four hanging points and the hole in the center for the can light.
Old 29th July 2019
  #186
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I feel for the guys putting down the asphalt...with air temps at 100, the parking lot must feel like 150!
Old 30th July 2019
  #187
The end is near!
This thread keeps getting better and better. Amazing job!
Old 30th July 2019
  #188
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itshappening.gif The end is near!!!
Old 1st August 2019
  #189
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When does the Duality arrive? Surely u ordered a ssl to go in there!
Old 1st August 2019
  #190
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Not really an ssl guy. But we have a brand spankin new 32 channel api 2448 siting in a crate waiting to go in studio 1, and our old faithful daking 1112 waiting to go into studio 2
Old 1st August 2019
  #191
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Quote:
Originally Posted by juneaudio View Post
Not really an ssl guy. But we have a brand spankin new 32 channel api 2448 siting in a crate waiting to go in studio 1, and our old faithful daking 1112 waiting to go into studio 2
Guess that apI will due lol
Old 5th August 2019
  #192
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Quote:
Originally Posted by juneaudio View Post
The original plans had a very extensive lighting control panel and a ton of wiring, etc. In our current location in the house up front we are using Phillips Hue LED bulbs and they have been really great, super flexible, don't cause noise when dimmed etc, so the entire new place will be Phillips Hue bulbs which can be controlled individually or in groups and can be any brightness or color. I'm hoping that we like this approach as much as I think we will!
I’ve been reading through your thread the last couple of days. It strikes me as very impressive and you are meticolous and thorough down to the smallest details. As such, it may be of interest those Philips HUE lamps aren’t the worst around but there are better ones if you don’t need to dim them up / down. Dimable ones seem more problematic compared to on-off ones. There might be some sensitive people who get annoyed and disturbed and feel the Philips HUE LEDs flicker / give off to much stroboscopic effect at 100 Hz and max light as voltage through varies. When dimmed down the annoying flickering improves. (In Sweden we have 230 V / 50 Hz, so it might be different in USA.)
Link, language in Swedish but the diagrams are quite self explaining and there’s Google translate: https://www.faktiskt.io/phpBB3/viewt...48944#p1948944 In this one there are some links / articles in English which might be of interest: https://www.faktiskt.io/phpBB3/viewt...55905#p2055905


The guy (Michael) who made the measurements got a letter after his complaints back from Philips in Jan 2019 that they for future production (whenever that is) plan for a higher PMW to lessen the flickering. The guy is quite nerdy about (so far poor) LEDs and even has his own page about it: http://sle.se/led/ Unfortunately for you in Swedish, but you may use Google Translate. ”Översikt” = ”Over wiew”, After Over view, LEDs are divided into suppliers and manufacurers like Philps and Osram. There’s a warning sign for those LEDs he doesn’t recommend.
Old 5th August 2019
  #193
SRS
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Quote:
Originally Posted by Adhoc View Post
I’ve been reading through your thread the last couple of days. It strikes me as very impressive and you are meticolous and thorough down to the smallest details. As such, it may be of interest those Philips HUE lamps aren’t the worst around but there are better ones if you don’t need to dim them up / down. Dimable ones seem more problematic compared to on-off ones. There might be some sensitive people who get annoyed and disturbed and feel the Philips HUE LEDs flicker / give off to much stroboscopic effect at 100 Hz and max light as voltage through varies. When dimmed down the annoying flickering improves. (In Sweden we have 230 V / 50 Hz, so it might be different in USA.)
Link, language in Swedish but the diagrams are quite self explaining and there’s Google translate: https://www.faktiskt.io/phpBB3/viewt...48944#p1948944 In this one there are some links / articles in English which might be of interest: https://www.faktiskt.io/phpBB3/viewt...55905#p2055905


The guy (Michael) who made the measurements got a letter after his complaints back from Philips in Jan 2019 that they for future production (whenever that is) plan for a higher PMW to lessen the flickering. The guy is quite nerdy about (so far poor) LEDs and even has his own page about it: http://sle.se/led/ Unfortunately for you in Swedish, but you may use Google Translate. ”Översikt” = ”Over wiew”, After Over view, LEDs are divided into suppliers and manufacurers like Philps and Osram. There’s a warning sign for those LEDs he doesn’t recommend.
I know this is directed at the OP, but... I have all 100% Hue dimmable/color lighting in my studio (and I mean 100%) and it has been completely comfortable and no one (including myself) has complained about the lighting. In fact, to the contrary, they comment how nice the lighting is.
Old 5th August 2019
  #194
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See the post as information. In case some people have remarks about the light, they may very well see what is impossible for you to see (or understand). I'm not very sensitive myself but can force myself to see flickering from LED-lamps on some modern cars by looking sideways quickly back and forth (not moving the head, just the eyes).

I have a DLP projector which works fine for me. Other people can get nausated with DLP projectors because of the colour wheel's "rainbow effect", especially if the colour wheel is "slow moving". Higher speeds give less or no problems. I guess it is about the same thing here, frequency, how many times the colour (light) is on/off per second. I have no idea personally what they are talking about, only what they describe. Sometimes it is positive not to be sensitive to various things.
Old 6th August 2019
  #195
SRS
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I'm sure that with the significant money and time put into this project that the lighting will be just peachy. And if it isn't, they can switch it out.
Old 6th August 2019
  #196
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It's true that we could always switch light bulbs if need be, but for now the Hue bulbs are here and already installed. We have been using Hue bulbs in the front studio for a few years now and haven't had any problems.

Last edited by juneaudio; 6th August 2019 at 01:43 PM..
Old 6th August 2019
  #197
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#40

There is so much going on in the studios now, and things are changing so quickly, that it is hard to keep up. We have started booking time in Studio 1, as we anticipate it will be finished first, not sure if we will make our self-imposed deadline, but I’m hopeful.



The back door of the house / passage between the lounge and the lobby is nearly finished.



Measurements and markings were made for the large pieces of glass between the tracking rooms and the control rooms.



Maple window stops were installed in the openings between the three booths in tracking room 1.



The electricians worked on installing outlets and switches in the newly framed rear walls. They have also been helping with lighting in the soffits and clouds.



Our engineering crew has been helping Brett Acoustics this week, providing some extra man and woman-power with the 705 installation in addition to other tasks.



This booth is ready for fabric now, two walls are absorptive and the rear wall is both absorptive and diffusive.



The soffits in tracking room 1 have their maple trim pieces now.



705 is installed under the soffits.



Ryan King became a master of cutting and fitting 705.



Ryan finishing up the soffits in tracking room 2.



Maren and Nathan, both audio engineers, are placing batting insulation in the upper soffit of control room 2. They have to be careful to fill as much of the cavity as possible without compressing the fiberglass.



The front wall of control room 2 will be covered with 705 and fabric instead of a hard front wall like in control room 1. The framing on the sheetrock will have track installed which will hold the fabric in place.



The wheels were installed on the gobos making them easier to move around and out of the way.



Thom Canova flew in and set to work on the mic / tie line panels in the tracking and control rooms.



One of the finished panels in the iso booths and track for fabric being installed above.



A local cabinet shop was hired to build our speaker soffit boxes which are huge and really heavy.



Work on the mural continues.






Most days the artist, Ainsley Romero, works 12 hours.



Jake Reedy, another local artist began work on the lettering for the back of the building. He used a projector to transfer the image.



A few late nights and the painting is almost finished, and it is really big.



The frame for the cloud in tracking room 2 is hung as well as the soffit trim.



Diamond panels for studio 2’s clouds with light cans installed.



Some of the diamond panels have now been installed, awaiting the electricians to connect the lights.



One of the most exciting changes this week was in tracking room 1. The studio 1 clouds are pretty complex and, in order to get them hung correctly, marks and measurements were first laid out on the floor. I put the arrows in to show the marks, they cover the entire floor.



The marks were then transferred to the ceiling with a laser and screws with eyelets were installed in those locations. Then one by one the hexagon shaped clouds were hoisted and hung.



Tony Brett told me that this Genie lift was a real game changer when they found it. CO2 or compressed air powers the lift and helps hold each cloud while it is leveled and hung.



The lights in the cloud really brought it to life, this design is all Wes Lachot’s so I certainly take no credit for it. It is stunning when you are standing beneath it.



A view of tracking room 1 from the sound lock into the control room.



The cloud in control room 1 is missing two pieces, they were left off to allow room to work while installing the birds-eye maple front wall.



Tracking room 2 from the rear corner near the iso booth. Half of the cloud is in place now, the rest will be installed once the electricians are back on site.



The 4th birds-eye maple panel being installed in control room 1. Great precision is needed to cut this really expensive wood at such crazy angles. Tony Brett and his crew have definitely earned their reputation as excellent craftsmen.



It had been a while since my last walk through so I pulled out the go pro and filmed another.
Old 6th August 2019
  #198
SRS
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Looking real nice. All-hands on deck. The clouds look marvelous, and in my opinion are the most pleasing aesthetic feature in the rooms no doubt. And one of the most important acoustically as well. I assume having the front wall of CR2 soft is primarily to give it a different acoustic signature than CR1, other than the obvious size difference? Slight bit more dead acoustically. Being RFZ designs, they both will sound superb no doubt.

Interesting decision and approach you took in the external signage and artwork. Unlike the studios of the past that I have experienced, especially in LA, where they did pretty much everything they could to keep the studio from being known to outsiders what was housed within. You could drive or walk right by a high-end studio and never know it was there. Which was the purpose.
Old 6th August 2019
  #199
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I hear you on the signage, I worked at plenty of nondescript concrete buildings in LA. things are obviously much smaller here and less worry about theft, but you know, Ill let you know after the burglary if it was a good idea.

Control room 2 will be where we do surround mixing, so for that reason a soft front end made sense, and, as you say, nothing wrong with having a different acoustic signature. again, ill let you know soon....



Quote:
Originally Posted by SRS View Post
Looking real nice. All-hands on deck. The clouds look marvelous, and in my opinion are the most pleasing aesthetic feature in the rooms no doubt. And one of the most important acoustically as well. I assume having the front wall of CR2 soft is primarily to give it a different acoustic signature than CR1, other than the obvious size difference? Slight bit more dead acoustically. Being RFZ designs, they both will sound superb no doubt.

Interesting decision and approach you took in the external signage and artwork. Unlike the studios of the past that I have experienced, especially in LA, where they did pretty much everything they could to keep the studio from being known to outsiders what was housed within. You could drive or walk right by a high-end studio and never know it was there. Which was the purpose.
Old 6th August 2019
  #200
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Quote:
Originally Posted by SRS View Post

Interesting decision and approach you took in the external signage and artwork. Unlike the studios of the past that I have experienced, especially in LA, where they did pretty much everything they could to keep the studio from being known to outsiders what was housed within. You could drive or walk right by a high-end studio and never know it was there. Which was the purpose.
HA! This is downtown Provo, Utah. I'd be more worried about getting my car towed from parking in the wrong stall than from someone burgling the studio.
Old 7th August 2019
  #201
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Quote:
Originally Posted by dcwave View Post
HA! This is downtown Provo, Utah. I'd be more worried about getting my car towed from parking in the wrong stall than from someone burgling the studio.
You'll probably end up losing more money from those snakes too!
Old 7th August 2019
  #202
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This might be a dumb question but how exactly do you run cables through those plastic pipes into the control room?
Old 7th August 2019
  #203
SRS
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Quote:
Originally Posted by dcwave View Post
HA! This is downtown Provo, Utah. I'd be more worried about getting my car towed from parking in the wrong stall than from someone burgling the studio.
Maybe... But better safe than sorry.
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June Audio Recording Studios - A Wes Lachot studio in Provo, Utah-screen-shot-2019-08-07-4.04.06-pm.png  
Old 8th August 2019
  #204
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ruh roh


Quote:
Originally Posted by SRS View Post
Maybe... But better safe than sorry.
Old 8th August 2019
  #205
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Stunning! I love the building entrance and signage, so cool!

And man, the rooms are looking great.
Old 14th August 2019
  #206
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#41

We’ve started to book studio 1, although I’m not totally sure we will be up and running in time. We are waiting for glass to arrive and the timing isn’t working out great. Brett Acoustics is nearing the end of their work and without the glass the consoles can’t be set which means wiring is being held up. We will see how this week goes and hopefully know more about when we can get back to work.



705 going up in the control room 1 soffit returns.



The speaker soffit boxes are mounted in both control rooms.



Cat 6 lines run and wired in machine room 2.



The control room in the house begins to be torn apart, I had to finish mixing an album but some of the outboard gear was moved out even before I was finished.



The birdseye maple front wall in control room 1. The speaker soffit boxes are being the maple ready to be routed out.



Fabric going up in one of the studio 1 isolation booths.



Fabric going up on the control room 2 soffit returns.



Control room 2 will have a soft front wall, seen here with all of the 705 hung.



Control room 1 ready for fabric.



Fabric in the soffits of tracking room 2 as well as the finished cloud.



Control room 2 front wall fabric going up.



Soffit returns in control room 1 with fabric installed.



Every day for 8 to 9 hours Thom Canova of Canova Audio, as well as Ryan King and Maren Belnap 2 of our engineers have been prepping, soldering and arranging the cable. We are re-using much of the cable we already owned from our previous location, which saves on materials but most likely not on labor, hard to say if it was a good idea or not.
Old 4 weeks ago
  #207
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Everything is looking incredible! Pictures never do justice in builds like this. I'm excited to come and see and hear it in person some time soon.
Old 4 weeks ago
  #208
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Quote:
Originally Posted by Dizzi45Z View Post
Everything is looking incredible! Pictures never do justice in builds like this. I'm excited to come and see and hear it in person some time soon.
Me too!
(BTW, loving the argosy I got from you, Dave )
Old 4 weeks ago
  #209
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The sheer magnitude of this build and others like it just blow my mind. I'm so incredibly impressed with the amount of work you've done and it looks amazing. Every time I think of posting my small garage build I see one of these and decide, Nah. Thanks for sharing.
Old 3 weeks ago
  #210
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#42

I finished mixing the last project to be completed in the house and we immediately set to tearing things down. As of today we are 2 weeks into our transition to the new studios and probably 2 weeks from being up and running again. We have all been working long exhausting days doing everything from building and re-wiring cable to painting and caulking. We have a great team here and have also been lucky to have a lot of help from friends outside of the studio team. I hope we will continue to be so lucky as we near the finish line.



The 1608 gets torn down. We bought this console when we first moved into the house, 3 years ago, with the plan of moving it into studio 1, but then API introduced the 2448.



Packing things up feels pretty good after all this time, but the next few weeks will be a lot of work.



Getting the Burl Motherships configured for the two studios. Studio 1 will be 32 in 32 out and studio 2 will be 24 in 24 out.



John from Brett Acoustics working on fabric in control room 1.



Laying out the frames for the clouds in the iso booths.



We had the alley alongside the studio, and the parking for the church next door resurfaced as a thank you for letting us use their parking occasionally during construction and dealing with all the disruption.



I have a good friend who has access to all kinds of advanced cutting machinery and in addition to some metal logo plates in the studio he cut one for the front gate.



Moving the guitars from the house to the new instrument room was a big job full of multiple trips up and down the narrow old staircase of the house and the new metal staircase in the storage room.



A few days before Brett Acoustics left the site they started setting the credenzas and building the desks for the consoles.



Tony Brett using the laser to plot hanging locations for the cloud in control room 2.



Clouds being hung in the studio 1 isolation booths.



The cloud in control room 2 going up. This cloud is similar to the cloud in tracking room 2 except instead of using four foot lengths of the grid metal, the plans call for 3 foot lengths. Tony had to cut and re-rivot all of the cross pieces from four foot to three.



Maren Belnap, one of our engineers, wiring a cat 6 patchbay in machine room 2.



The time finally arrived to open the crate that had been sitting in the truck for weeks since the Brett Acoustics crew arrived, revealing our new API 2448.






Setting the custom made desk for the 2448.



Maren, Ryan King, Thom Canova and Tony Brett working in control room 1.



The 1608 on its way out of the house to be crated and taken back east.



Months ago we ordered a custom leather couch for studio 1 and when it arrived Ryan had to jump on and try it out.



Ryan and Maren took on the job of organizing and arranging our new mic cabinet.



Assembling the beautiful custom made desk for our Daking 1112 console.



Jed Jones, another of our engineers, begins putting the Daking back together.



We added a center producers desk to the console, but we had to lose one of the buckets that used to house 8 compressors in order for the console to still fit in the room. This means we have to consolidate the master meters to one panel instead of 2, hence the cardboard mockup.



The Daking is such a great sounding console, but its former frame and trim left something to be desired. Brett Acoustics did an amazing job with the new desk.



Years ago when I toured Manifold Recording in North Carolina I noticed they had a cart to store their mic stands, so I stole their great idea and made one myself.



The finished microphone cabinet.



The time finally arrived to head down to the storage unit and bring things back, beginning with the ATC monitors, still in crates that have yet to be opened.






This Argosy desk has been in our storage unit and will now be in the house control room to be used by our friends who will be renting the space.



In addition to the ATCs, on our first trip to the storage unit we brought back one of our EMT 140s. These things are so incredibly heavy and burdensome to move but its hard to argue once you have the chance to hear them in a mix.



On our second trip we picked up the 2nd 140 and both are now ready to be wired up. We need to figure out some isolation system for them to sit on, but for now Im just happy to have them back.
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