The instrument collection at Klankzicht is top notch and in overall good condition. All things are miced properly so it is just sit and record, actually.

At Klankzicht we feel it is important that all people are in the same zone while creating. This means that there will be some bleed between instruments. But in our recording philosophy, bleed is not a bad thing. It it the glue to the music. That is also why the acoustics are very well designed for this purpose.

Yeah, ever since I read about Daniel Lanois’ working setup in his different studios I felt I wanted the same. Not the hiding behind glass, but a creative space to make music in. I feel that the producer/engineer in the room is a large part of the equation during performance of a recording. The vulnerability of being in the same room together all the time is a chosen philosophy. The benefits outweigh the challanges big time.
When dubbing, sometimes the band should leave the room, but there is plenty of space outside to kickback and relax :)

Yes, all gear is there to make use of. Of course, it should be suitable for the job, but all mics and outboard gear is ready to use.

A lot of studios have a grand piano in their room. For some music it is a must have. At Klankzicht, best of two worlds is chosen from: the Bechstein 8 is the most beautiful upright, and outperforms a lot of grand pianos. Together with piano artisan Cas Mak, the Bechstein is carefully tuned and adjusted to give the best playing comfort and sound.

Although very stable in tuning, for piano oriented music, extra tuning is always advised for.

For 20 years I use Samplitude as my main DAW. Back when I started, it was by far the best sounding DAW in the market. These days, the differences are smaller, but I can read and write with it, although it is an odd pick for most people.

I can work with Logic and Studio One as well and have those installed. Reaper is not my thing, nor is Protools.

The airconditioning in the room is designed in such a way it can cool the studio even during recording. The special designed dampers and air sock make the air speed so low, it is almost unnoticeable. And for those delicate recordings, you can just switch it off during record, and on during breaks. Problem solved :)

All sound captured and made by electro acoustical devices is powered by electricity. Therefore, the condition of this electricity is part of the overall sound. See it as the other part of the multiplication: Sound x Electricity. If a sound wave is amplified, the energy which feeds this amplification comes from the mains.

In high end and audiophile circles, mains conditioning is common place. Also for the world class studios it is the case.

When building and designing the studio, I decided to take some measures to provide the best (clean) mains power I could, with being reasonable.

It resulted in a separate phase, gold plated mains differential switch (aardlek) and gold plated mains fuse holders, with Hifi Tuning fuses. With double braided shielded cable, this clearly had advances in sound I couldn’t imagine (I was quite skeptical, but not anymore). Oh, it does not fix a bad performance, nor a bad song :).