We went to Switzerland to interview Daniel Dettwiler at Idee und Klang, Daniel’s high-end mixing/mastering studio. He is specialized in the production of acoustic music, especially large and small jazz music as well as film music. He has worked on productions with ECM, Herbert Grönemeyer, London Symphony Orchestra and many more. Daniel also gives lectures at the Musikhochschule in Basel as well as at the University of Arts in Zürich.
Proud D-MON owner, Daniel explains how the Trinnov helped fix the low-end in his studio with unparalleled flexibility and accuracy.
Can you please tell us about this place?
My name is Daniel Dettweiler. We are here at Idee und Klang Studio. My goal while building this studio was to create a high-end place for mixing and mastering work, with a beautiful console and beautiful output. But on the other hand, also a very accurate monitoring system where you can just hear all aspects of sound in order to bring it to a really high level.
What was your original take on room correction solutions?
It was in the studio that I built after I started audio design, in which we just had a problem with bass. We needed more bass energy and the Acoustic Engineer installed an analog equalizer, but I was never really so satisfied. I somehow had to do this, but it did not get my monitor to really sound better or it did not solve the problem because then you equalize in the bass and actually you're equalizing through another equalizer.
I came in contact with a Trinnov distributor, and he said: "You should try a Trinnov". I said: "No, I don't need a Trinnov. I'm skeptical." He said: "Well, I give it to you for about two months. Try it out." And I thought that was a great chance to really work with something I'm skeptical about.
I tried it out, dived into it, and I just saw the potential of the Trinnov. Actually, it not only solved that bass problem, but it also made the room sound better. Even if you have the best monitors you could afford, it just makes them sound better again, in a very natural and very accurate way.
Were there other factors in choosing Trinnov?
You always have some problems in the room. No room is totally perfect. But then also with the speakers, as an example, those passive speakers are basically two-way and they go down to 20 hertz, but they are using a 15-inch buffer for the bass, which Strauss does this for the precision. But this comes with the maybe small disadvantage that you have to boost 20 hertz just a little bit. With a Trinnov, this can just be done in a very easy and very good sounding way.
The second reason is that while you might have the best mastering speaker in the world, or this for sure is one of the best models that you could have, still you might want to have another target curve. With the Trinnov, it's just so easy to set your target curve.
What do you like about Trinno D-MON monitoring controller?
I like it more digital nowadays, that's why I then got the Trinnov D-MON. I'm now really happy with it because I can just do whatever I want, and I just know what I hear. If I hear a difference between two sounds, it's actually really the difference I'm hearing. And I need to hear really subtle differences. With a digital monitor controller, there is just no question. Could it be the buffer amp? Could it be the input? Could it be the analog output? So I'm more than happy with D-MON. And I really think that Trinnov did a great job also in designing the user interface. It's easy to set up, it's intuitive, and I really like it a lot. I would not want to go back.
Has it improved your workflow?
I'm absolutely faster, first of all, because the room correction is just right. But then with the D-MON, I just switch it on in the morning and I know the calibration is still there. I know the levels of my speakers are right. Everything is right.
I also set up some reference track and the rough mix to be on different buttons here. I have my old mix that I can just compare at the push of a button. That was more complicated before. I also made sure I have the very same layout with every setup, no matter if I mix stereo or surround or also in future atmos. I just configure it so that it's always in the same way. For sure, with the Trinnov room correction, and D-MON, I would say I'm way faster.
Would you recommend it to other engineers?
I think everyone should invest. I even have a student who bought Trinnov. Of course, if you are on a student level, it's not so easy to afford it. I mean, in comparison to what I pay for my speakers, then Trinnov is very cheap.
But if you are a student, you have two cheap Genelec speakers, then Trinnov is more expensive than the speaker set up. But it brings so much back...
So to me, I wouldn't want to live without my speakers, but I also would not want to live without Trinnov anymore.