Floor 4 Studio by Timo Klemm

This interview gives an insight into the construction and operation of a modern studio that specialises in Atmos productions, among other things. Timo talks about the challenges of setting up the studio, the flexibility of modern interfaces and his visions for the future. Both the technical infrastructure and the creative work are discussed.

When did you start building your studio?

Last year in June. Setting up and connecting the microphones so that you can make the first recordings - I thought that would take maybe three to four months. But it actually took almost nine months which I didn't expect. Especially with such a complex studio, the patchbay was a lot of work.

How are you using TotalMix FX?

TotalMix FX is the complete management centre for everything I do - whether it is Atmos, monitoring, producing, headphone mixes or anything else. Everything that runs here in the studio in terms of converter equipment is connected via the MADIface XT II and controlled directly. I use three M-1620 Pro - two with Dante, one with AVB - as AD and DA converters. This gives me flexibility and a lot of I/Os at my disposal.

A particular advantage of TotalMix FX is the integration of Room EQ. This allows room corrections to be implemented easily and effectively, which is an enormous help, especially in a professional studio, to optimise the frequency response at the monitoring position. The latency compensation in Room EQ is also particularly helpful for an Atmos setup.

What about the ADI-2/4 Pro?

The ADI-2/4 Pro complements my setup perfectly. I have now integrated a reference converter and an excellent headphone amplifier. Conveniently, this also gives me the required number of I/Os. If I didn't have that, I would have had to work with the patchbay. But it works better this way, especially for my Crookwood monitor controller, which only has a limited number of stereo inputs.

What are your main activities at the studio?

It's a mixture of music and voice recording. Today we're recording guitar, wind instruments and a bit of singing. Later, a speaker comes by. That shows how diverse it is here. Corona has changed that a bit: I used to do more music and less speech, now it's the other way round. But I like both and am keeping an open mind. Atmos will probably play a big role in the future - there are so many more possibilities when it comes to mixing!

How do others use your studio?

Some people come for voice or music recordings, others rent the studio just for the technology, infrastructure and acoustics. That's completely okay. But I'm happy when I work with people directly.

The studio has a vocal booth and a recording room for drums, for example, which have been specially designed for professional recordings. These separate recording rooms offer optimum acoustic conditions and ensure maximum control over the sound. The vocal booth is perfect for voice and vocal recordings, while the recording room is equipped to record drums, brass, piano and guitar with outstanding sound quality.

What do you particularly like about the new M-1620 Pro converters?

They are super intuitive. I hardly had to look at the operating instructions. I can set the routing directly in the browser via the network, which is very practical. Even if there's a problem, it's immediately visible - for example, a flashing red light if the clock is missing or the settings don't match.

Incidentally, a converter should be as neutral as possible. It only serves to connect everything without colouring the sound. My sound is created via my channel strips, tube outboard and plugins.