West Side Studio in Amsterdam, a creative partnership between four production professionals, specializes in post-production sound and offline editing for motion picture and television, and its most recent addition is a cinema screening room equipped with a 7.1 surround system with Alcons Audio pro-ribbon loudspeakers.
West Side Studio is the brainchild of Evelien van der Molen, Mieneke Kramer, Lennert Hunfeld and Vincent Sinceretti, housing several edit suites and an ADR studio. For the new cinema room, the partners wanted 7.1 reference monitoring with the quality and flexibility for future expansion to a full Dolby Atmos specification.
Cinema exhibition services company CinemaNext was contracted to supply and install the equipment in the new room and, after looking at options, chose to go with an Alcons Audio CRMSCompact pro-ribbon system.
“We wanted to have a really simple, straightforward system with the least amount of conversions in the signal chain,” says Sinceretti. “The Alcons pro-ribbon solution allowed us to route digital audio from our Pro Tools system directly to the loudspeaker system, without having to put anything in between.”
The West Side team visited Amsterdam’s STMPD recording studio, owned by DJ Martin Garrix and outfitted with an Alcons- equipped Dolby Atmos Premier Studio. “The listening tests proved to us that Alcons was not only the best system, but it also offered the best value for money. It was confirmation that we were making the right choice,” Evelien continues.
CinemaNext installed main screen left-center-right CRMS Compact cinema reference monitor systems, six CRMSC-SRHV/90 compact reference surrounds, and CB362 subwoofers. It is all powered and controlled by two Sentinel3 amplified loudspeaker controllers.
“The Alcons pro-ribbon solution delivers clear, transparent sound that keeps its exceptional quality, even at high SPLs,” says Hunfeld. “It’s very easy and flexible to use with the Sentinel3s and we were also impressed by the shallow form factor.“
Offline editor Mieneke Kramer adds, “From an editor’s point of ear, the quality of the offline edit stereo bounce really stands its ground. There was more clarity and detail than I could judge in my edit suite, without being confronted by a poorly sound edited cut coming from the offline edit.”