Specialized Services
Acoustic Design
Section titled “Acoustic Design”Professional acoustic design for recording studios, listening rooms, and commercial spaces.
Design Process
Section titled “Design Process”-
Initial consultation
- Room purpose (recording, mixing, mastering, listening)
- Budget and constraints
- Existing conditions (dimensions, materials, windows, doors)
-
Measurements and analysis
- Frequency response
- Reverberation time (RT60)
- Early reflections
- Room modes
-
Design
- Absorber placement
- Diffuser selection
- Bass traps
- Listening and speaker position
-
Documentation
- Technical drawings
- Bill of materials
- Installation instructions
- Cost estimate
-
Execution (optional)
- Construction supervision
- Final measurements
- System calibration
Common Problems and Solutions
Section titled “Common Problems and Solutions”| Problem | Symptom | Solution |
|---|---|---|
| Flutter echo | Metallic reverb | Diffusers or absorbers on parallel walls |
| Bass buildup | Booming in corners | Bass traps, low-frequency absorbers |
| Comb filtering | Unnatural sound | Adjusting speaker/listening position |
| Excessive RT60 | Lack of clarity | Additional absorption |
| Too dry | Dead-sounding room | Diffusion, reducing absorption |
Who Is It For?
Section titled “Who Is It For?”- Recording studios — vocal booths, control rooms
- Home studios — optimizing existing spaces
- Home cinemas — surround, subwoofers
- Commercial spaces — offices, restaurants (noise reduction)
- Rehearsal rooms — isolation + interior acoustics
Measurements and Calibration
Section titled “Measurements and Calibration”Professional acoustic measurements and monitoring system optimization.
What Do We Measure?
Section titled “What Do We Measure?”| Parameter | Meaning | Target Value |
|---|---|---|
| Frequency response | Tonal balance of the room | +/-3 dB across 80 Hz - 16 kHz |
| RT60 | Reverberation time | 0.2-0.4s (studio), 0.3-0.5s (mixing) |
| Early reflections | First reflections from walls | >15 dB below direct signal |
| SNR | Signal-to-noise ratio | >60 dB |
Measurement Equipment
Section titled “Measurement Equipment”- Measurement microphone
- REW (Room EQ Wizard)
- Smaart
- Pink/white noise generator
System Calibration
Section titled “System Calibration”After measurements, we can:
- Correct speaker positioning — angle, distance, height
- Set up the subwoofer — phase, crossover, level
- Apply room correction — DSP, Sonarworks, ARC
- Recommend acoustic treatments — what to add and where
Report
Section titled “Report”You receive documentation that includes:
- Frequency response charts
- RT60 measurements
- Waterfall analysis (decay over time)
- Specific recommendations
Sample Clearing
Section titled “Sample Clearing”Assistance in obtaining legal permissions to use samples in commercial productions.
Why Does It Matter?
Section titled “Why Does It Matter?”Samples from other people’s recordings are someone else’s property. Using them without permission can result in:
- Removal of your track from streaming platforms
- Financial claims (up to 100% of revenue)
- Lawsuits
- Reputational damage
The Clearing Process
Section titled “The Clearing Process”- Identification — what exactly was used and from what source
- Finding the rights holder — publisher, distributor, artist
- Reaching out — formal license inquiry
- Negotiation — fee (one-time payment or royalty), scope of the license
- Documentation — contract, proof of rights acquisition
What We Need From You
Section titled “What We Need From You”- The sample file (both original and as used)
- Source information (track, artist, year)
- How the sample was used (duration, processed or not)
- Planned distribution scope
Realistic Expectations
Section titled “Realistic Expectations”Alternatives
Section titled “Alternatives”If clearing is impossible or not cost-effective:
- Replay — we re-record the sample from scratch (legally)
- Rearrangement — we remove the sample from the production
- Royalty-free samples — licensed libraries (Splice, Tracklib)
Music Licensing
Section titled “Music Licensing”Services related to copyright and commercial use of music.
Sync Licensing
Section titled “Sync Licensing”Licensing music for synchronization with visual media:
| Use Case | Typical Terms |
|---|---|
| Feature film | Fee + royalty, sync agreement |
| TV commercial | One-time fee, territorial/time scope |
| Video game | Buyout or royalty, depending on budget |
| Documentary | Discounted rates, negotiable |
| Podcast/YouTube | Micro-sync, lower fees |
Mechanical Licenses
Section titled “Mechanical Licenses”Required for legally releasing a cover or using a sample:
- Cover — recording your own version of someone else’s song
- Interpolation — using a melody/lyrics without the original recording
- Sample — using a fragment of the original recording
Mechanical licenses are obtained through distributors (DistroKid, CD Baby) automatically for covers, or directly from the publisher for samples.
Registration with ZAiKS/STOART
Section titled “Registration with ZAiKS/STOART”We help with:
- Preparing documentation for registering compositions
- Explaining the difference between copyright and neighboring rights
- Establishing royalty splits among co-creators
Publishing Deal Analysis
Section titled “Publishing Deal Analysis”Before signing a deal with a label, it pays to understand what you are signing:
- What you are giving up (rights, for how long)
- What you are getting (advance, royalties, marketing)
- What exit options you have (reversion clause)
Dubbing and ADR
Section titled “Dubbing and ADR”Professional dubbing recordings and dialogue replacement.
Dubbing
Section titled “Dubbing”Recording the Polish-language version of a film, series, or game.
Process:
- We receive the video material + original audio track
- Translation and dialogue adaptation (or you provide a finished script)
- Voice actor casting
- Recording sessions with a dubbing director
- Synchronization with the picture (lip-sync)
- Mixing and mastering the dialogue track
- Delivery of the final version
Key considerations:
- Lip-sync requires precise timing
- Actors work with the picture on screen
- The director ensures character consistency
ADR (Automated Dialogue Replacement)
Section titled “ADR (Automated Dialogue Replacement)”Re-recording or fixing dialogue originally captured on set. What is ADR? →
When is ADR needed?
- Background noise makes the on-set recording unusable
- Script changes after filming is complete
- Improving pronunciation/intonation
- Adding off-camera dialogue
Workflow:
- Sync to picture (beeps, streamers)
- The actor repeats their lines, matching lip movements
- Best takes are selected
- Editing and processing
- Blending with the original track
Music Distribution
Section titled “Music Distribution”Assistance with releasing music on streaming platforms.
Choosing a Distributor
Section titled “Choosing a Distributor”| Distributor | Fee | Royalty | Best For |
|---|---|---|---|
| DistroKid | ~$20/year | 100% | Frequent releasers |
| TuneCore | ~$10/single | 100% | Occasional releasers |
| CD Baby | ~$10-30/release | 91% | One-off releases |
| AWAL | Free | 85% | Ambitious artists with traction |
| Label | Varies | 15-50% | Professionals |
What to Prepare for a Release
Section titled “What to Prepare for a Release”| Element | Specification |
|---|---|
| Audio | WAV 16-bit/44.1 kHz (minimum), 24-bit preferred |
| Cover art | 3000x3000 px, JPG/PNG, no text in corners |
| Metadata | Title, artist, featuring, producer, year |
| ISRC | Generated by the distributor |
| Lyrics | For Apple Music, Spotify (optional) |
Pre-save and Promotion
Section titled “Pre-save and Promotion”We help organize:
- Pre-save campaigns
- Spotify playlist pitching
- Profile claiming (Spotify for Artists, Apple Music for Artists)
- Basic promotional strategy
What We Do NOT Do
Section titled “What We Do NOT Do”- We are not a label — we do not sign artists
- We do not run marketing campaigns (we collaborate with agencies)
- We do not guarantee playlists — we help with the pitch
Networking
Section titled “Networking”We help you build connections in the music industry.
What Can We Do?
Section titled “What Can We Do?”- Introduce you to specific people (publishers, A&R, managers)
- Connect you with producers and songwriters
- Match you with artists who share a similar profile
- Advise on career development
What We Do NOT Do
Section titled “What We Do NOT Do”- We are not a management agency
- We do not represent artists
- We do not guarantee the success of referrals
Frequently Asked Questions
Section titled “Frequently Asked Questions”Can I commission acoustic design without the build?
Section titled “Can I commission acoustic design without the build?”Yes. We deliver full design documentation — drawings, a bill of materials, and installation instructions. You can hire any contractor for the build itself.
How long does sample clearing take?
Section titled “How long does sample clearing take?”It depends on the case. Straightforward requests take 2-4 weeks, but complex situations (multiple rights holders, international labels) can stretch on for months.
Do you help with music distribution internationally?
Section titled “Do you help with music distribution internationally?”Yes. The distributors we work with (DistroKid, TuneCore, CD Baby) cover all major platforms globally — Spotify, Apple Music, Tidal, Deezer, and more.
Is dubbing and ADR only for films?
Section titled “Is dubbing and ADR only for films?”Not at all. We also handle dubbing for games, animation, e-learning materials, and commercials.
For Whom?
Section titled “For Whom?”Specialized services are ideal for:
- Music producers — sample clearing, licensing, distribution
- Filmmakers and video creators — dubbing, ADR, sync licensing
- Studio and home-studio owners — acoustic design, measurements, calibration
- Artists preparing a release — distribution setup, networking, deal analysis
- Businesses and commercial spaces — acoustic treatment for offices, restaurants, and event halls