Thanks to the support of the world’s leading acousticians and studio designers, RPG® has earned the reputation as the acoustical reference of the professional recording and broadcast industry. RPG® products are used in over a thousand leading-edge music facilities around the world.
Recording studio design has changed dramatically since 1971, when RPG® President Dr. Peter D’Antonio first entered the audio industry. In those days, project studios were called “semi-pro” studios, because they did not possess the electronic and acoustical performance of the professional 16 track studios. In the intervening 27 years, the hardware gap has been narrowed — if not erased — by new electronic digital technology. On the other hand, the acoustical gap has widened because professional studio designers have made extensive use of advanced computerized acoustical measurement tools, computer modeling and simulation, room acoustics and psychoacoustics research, and innovative acoustical products. We have developed AcousticTools™ for Project Studios to help bridge this acoustical gap.
The key issue in any recording studio is transferability: the ability of a mix to transfer to other listening environments outside the studio. For a mix to faithfully transfer to a wide range of acoustical environments, it must be created in a room with minimal acoustic distortion. The four sources of acoustic distortion are modal emphasis, speaker boundary interference, comb filtering, and sparse reflection density. Professional recording engineers will attest to the importance of mixing in an acoustically designed room. Hence our slogan: “If you can’t take the room out of your mix, you can’t take your mix out of the room”.
AcousticTools™ for Project Studios
To address all of the potential forms of acoustic distortion, we have created Spatial, Image, Bass, and Software Tools.
uniformly scatter sound arriving from any direction and create a sense of “passive” surround sound, immersion, and envelopment in the soundfield.
absorb reflections from the room’s boundary surfaces, which cause comb filtering and corrupt the soundstage, image size, and timbre.
minimize room resonances and speaker boundary interference effects to provide a more uniform room response.
minimize acoustic distortion by optimizing the location of loudspeakers and acoustical surface treatments in relation to the listener.