Most recording studios are constructed within an existing residential or commercial building and therefore their dimensions are constrained by the existing infrastructure. Sound absorption material is then used to attempt to control standing waves and flutter echoes, where sound waves are bounced repeatedly between parallel surfaces. While sound absorption is highly desirable, too much can turn a recording room into a dull, lifeless space, and the 'liveliness' must be returned with digital reverberation. Unfortunately this can never entirely replace the magic of a good sounding room where the controlled and diffused reflections 'excite' the air and enhance the instruments being played in real time.

Redbak was designed and built from the ground up with these considerations first and foremost. There's not a single parallel surface in our recording room, nor our purpose-built vocal booth. With the 5 metre-high vaulted ceiling, and meticulous placement of acoustic panels, both fixed and moveable, for different sound design purposes, the recording space imparts a superb sense of space whilst still having a very tight and musical reverb decay time. It's the kind of space that actually inspires players and produces the best performances, which, all maths and science aside, is the most important aspect of any successful recording.