Genelec monitors the two new Atmos Home rooms in Telson.Tres60, one of the first certified by Dolby in Spain

The Telson.Tres60 studios (Mediapro Group) rely on Genelec SAM monitoring systems to equip their two new Dolby Atmos Home approved rooms.

Telson.Tres60, the group's image and sound post-production company Mediapro specialized in fiction and advertising, has recently released its two first Atmos Home rooms, one of the first certified by Dolby in Spain. El Estudio, which has just provided sound for the second season of To Fish for Movistar+, Marc Vigil's debut feature The silence of the swamp, for Netflix, or the first season of Malacca for TVE, he carries out work both for The Mediapro Studio and for external clients.

Unitecnic, the engineering company of the Mediapro group, has been in charge of the audiovisual transformation of the studio and, therefore, of the integration of these avant-garde listening systems Genelec by the hand of Audio-Technica Iberia.

Pelayo Gutierrez, sound supervisor and head of the fiction sound department at Telson.Tres60; Alberto Ovejero, mixer; Ana Belén Martín, sound production coordinator; and the sound supervisor Eduardo Castro They are some of the professionals who have been in charge of this project.

In the case of Gutiérrez, he has won three Goya Awards and has been nominated another 9 times; He has also been nominated for the Golden Reel Awards, the Gaudí Awards and the Platino Awards among others. He has worked on more than 190 films and series with directors such as Pedro Almodóvar, Alberto Rodríguez, Fernando Trueba, Iciar Bollain, Manuel Martín Cuenca and Daniel Sánchez Arévalo.

For his part, Eduardo Castro, sound supervisor, has been nominated twice for the Goya Awards and winner of the Macondo Award for The hidden face. He has also been nominated for the Golden Reel Awards. He has provided sound for more than 75 films and series and has worked with directors such as Carlos Vermut, Fernando Trueba, Paco León and Jonás Trueba.

As for the mixer Alberto Ovejero, he has been nominated twice for the Goya Awards and the Argentine Academy Awards. He has mixed more than 40 films and also has an extensive career as a mixer in the field of distribution with more than 200 films mixed. He has worked with directors such as Manuel Martín Cuenca, Daniel Sánchez Arévalo, Iciar Bollain and Raúl Arévalo.

Finally, the sound production coordinator, Ana Belén Martín, has worked on more than 77 films and series under her belt, exclusively directing sound post-production.

Some studies on the rise

The growth of Telson.Tres60 studios in such a short time is eloquent. In this regard, Pelayo Gutiérrez comments that "we have been here since May 2019; the growth is being important due to the volume of work that we brought ourselves, added to the volume that was already inside the house. During these months the work has also been done, adapting the studios to our needs. Currently, we already have two Dolby Atmos Home rooms, a 7.1 room, two 5.1 rooms, a foley room, a movie theater where we make dubbing, premixes… in 7.1 too. Regarding technical expectations, Genelec has given us the answer we expected. We are very happy… it is perfect. We are able to open a film project and listen to it in this room and be able to listen to everything we have done. We have no insecurity when it comes to making some premixes here and then going to the movie theater or vice versa, that is, they are totally valid references.”

About the versatility of the studio Gutiérrez affirms that “they are the only two Dolby Atmos Home rooms approved to work at 79 dB. Ricardo Viñas (Dolby) was in charge of adjusting the rooms, equalizing them, to the three levels of demand: 85 dB for cinema, 79 dB for Netflix and 82 dB for Telefónica, but well, that's where all our current clients come in: Telefónica, Amazon, Netflix, HBO…”

The update of the system obeys the demands of the audiovisual sector, as Ana Belén Martín points out: "the platforms demanded it from us, for example, Movistar, which requests everything in Dolby Atmos. We must be able to adapt to the standards of each of these clients. This has meant that we have to generate many more materials than before, because the different televisions have different types of broadcast formats, from a mobile phone to a Smart TV."

Ovejero adds that “this last year we have seen that more than 70% of the work are quality television series; Cinema still exists, but now there are many series that have a production close to or greater than many films. I remember that five years ago our workload was making 75 or 80% movies and 20% series and now it's more or less the other way around. In fact, many people didn't call us because they related us much more to the world of cinema and not to the world of television; Nowadays everything is much more homogeneous. With the new platforms, the demand for content has increased greatly, even films are made directly for platforms. This type of listening and this type of infrastructure is needed.”

The three agree that, although without reaching the levels of cinema, the audiovisual narrative of the series has grown very noticeably in recent years, and the settings are much richer in general. This represents a new and interesting challenge for them in terms of audio mixing, especially due to the need to reach a point of balance between cinema and what to date has been common in television productions.

Genelec in the new rooms

• S360 CSF Monitor. The S360A merges the performance and sound pressure of a main monitor with a compact size, making it the ideal choice for high-quality applications in film, post production and music production. Combined with a subwoofer, the S360A meets the demands of EDM playback or Dolby cinema sound mixing, even in rooms where the listening distance exceeds 10 meters. Whether free-standing, recessed or wall-mounted, it provides neutral reproduction with a short-term SPL of 118 dB, with even higher peaks. The S360A Tightly integrates with GLM software, allowing it to be configured and calibrated with respect to the listening environment, compensating for negative influences from the listening room to create a truly optimized monitoring solution, from mono to immersive sound. GLM not only helps produce accurate and reliable mixes, it also functions as a complete Mac or PC-based monitor controller, allowing you to calibrate your listening level to accepted loudness standards, switch between formats, monitoring systems, primary listening positions, and much more.
• 1032C monitors for the 4 surround. Maintaining the appreciated sound characteristics of the previous versions A and B, the 1032C now offers digital connectivity, a universal power supply and powerful class D amplification. It allows you to generate higher SPL levels and a wider frequency response than its predecessors. It also integrates with GLM software, making it the perfect choice for high-end music production, post-production and broadcast professionals who need their mixes to translate seamlessly into other rooms and systems.
• 8340AP monitors for the 4 overheads. The best professionals in the world in recording studios, post-production rooms, digital editing rooms, radio, television and outdoor broadcasting, fully trust the authentic, unadorned sound of the 8340A. Its wide listening sweet spot and stability promotes accurate and reliable decision-making during mixing. As a Smart Active monitor, the 8340A also integrates with GLM software. It is ideal for working in complex acoustic environments.
• Subgrave 7382A. With a frequency response that extends up to 15 Hz, and an ability to offer a Maximum SPL over 130 dB, the 7382A is the most powerful subwoofer Genelec has made to date. Combining power and flexible calibration, the 7382A has been designed for use in recording studios, film mixing rooms, mastering rooms, post-production rooms, EDM playback... With a high SPL level, low cutoff frequency and very low distortion operation, the 7382A provides precise bass articulation, even at very low frequencies. It also integrates with the GLM software, which allows its configuration, calibration and control.