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ARSCLIST  February 2011

ARSCLIST February 2011

Subject:

Re: audio lab design requirements

From:

Parker Dinkins <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Wed, 9 Feb 2011 19:26:17 -0600

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (31 lines)

On Feb 9, 2011, at 5:45 PM, David Seubert wrote:

> how might a mastering room differ when you have multiple workstations, flexible configurations, and project-based workflows? If we are ingesting four cassettes (unattended) at a time on one workstation while copying cylinders on another workstation or some other combination of tasks, we need as much flexibility as possible.

We do this by using four Bud ARR-1272 relay racks bolted onto 4" x 4" x 22" solid teak blocks, which are in turn mounted onto 3.5" industrial soft casters w/brakes (which each swivel 360 deg). Obviously you don't have to use teak. The racks are anodized aluminum and take 12-24 rack screws. Each of the racks holds different equipment and can be gently rolled into place to change the setup.

The main transfer machine for open reels (A820) is rolled into position when required.

The main workstation video monitors are in the center of the main console, with two IsoBoxes (on casters) on the left and right for computers, NAS units, and a rackmount CD/DVD duplicator, all with their noisy fans. These IsoBoxes also provide a temporary work surface for DAT machines and Nakamichi cassette deck which otherwise live somewhere else. 

A totally silent, fanless computer sits outside on its own casters and hosts the main DAW and an FTP server which is on 24/7.

A video workstation is against one wall on a trolley.

By having everything on casters (except the main console) you have the ability to reconfigure the large room at will for any particular task. You really can't plan the equipment layout for all eventualities, so by having everything on good quality casters you can readily adjust to suit.

If you look at this

http://masterdigital.com/688.jpg

you will see the spaces in the corner of the room where two of the four teak based racks were 'docked'. In this particular setup, the TASCAM 44 is the prep/diagnostic machine, while the A820 (w/vernier azimuth) has been rolled into place to do the actual transfer of about 200 7" reels.

Since this picture was taken, the room and general layout has been re-created in another location.

Hope this helps.

--
Parker Dinkins
Audio Mastering + Restoration
http://masterdigital.com

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