Hours of operation

Fall 2017

Monday - Saturday

8:30am - Midnight

Sunday

9:30am - Midnight

You must have a valid SVA ID (with a CAD sticker) to use our facilities. Continuing Education Students do not have lab access beyond their class meeting time.

Full-time SVA undergraduates/graduate students currently enrolled in classes scheduled in the BFA Computer Art Department may have lab access in non-restricted labs per availability.

No food or drinks are permitted in our facilities.

SOUND RECORDING & FOLEY STUDIO

Sound Recording and Foley Studio Specifications

The room has a Pro Tools HD 12 system with a 96 i/o interface (8 inputs and 8 outputs); a Control 24, a fully automated, 24 moving faders, digital console with 8 mic preamps and an 8 channel analog mixer; the computer isolated in a fan cooled rack for noise purposes; Two sets of monitors/speakers (JBL 4328's wired with a 450 watt, 12" subwoofer and for the other pair, Avatone Mix Cubes); a Samson Real Time Analyzer for audio frequency analyzation.

An island for outboard rack gear allows for a producer's station if necessary, and a place for students to sit around for class demos. In the island there are 3 microphone preamp units (Focusrite ISA-220, Universal Audio LA-610, Vintech Dual 72). Two units is solid state and the other is tube for different sonic tastes. There are also 2 Alesis LA-3630 compressors, an Avalon VT 747sp vacuum tube compressor limiter with EQ and 2 Chandler Limited Germanium Tone Control EQs. On the midi side, there is a Triton Extreme 88 weighted key synthesizer and an Akai MPC-4000 for hardware sampling and sequencing. Both units can be connected to Pro Tools via the Midi I/O interface.

The room is now fully custom wired to two Switchcraft 96 point TT patchbays. All monitoring and headphone connections are normalled for patch-less operation. Nothing needs to be patched in order to mix in the room. The recording room, large enough to give it that name promotion over vocal booth because of it's size, has a microphone box attached to the wall with 8 XLR mic inputs and two headphone outputs. This microphone box shows up in the patch bay with the headphone connections normalled for operation. The only patch needed to record vocals is from the mic box to the desired mic pre and then to Pro Tools (only two cables needed.) For vocals, there is a new Blue Bluebird cardioid condenser mic attached to a weighted boom stand with wheels.

Both the mix room and recording room are acoustically treated for a dramatically improved, more linear frequency response. The mix room has full absorption treatment and bass trapping on all walls and ceiling at the mix and producer's position using Real Traps absorbers. The back wall is treated with both absorption and diffusion by Real Traps and Auralex. The recording room has bass trapping in all corners with checkered absorption on all walls to keep away from a boxy/too dead sound. There are two moveable absorbers on stands to modify the reflections of the recording room to taste.