Vladimir Osinsky: "We dug into the ground, removed concrete to create the right acoustic space. The entire room was designed for the tasks of sound recording."
An interview with Vladimir Osinsky — a talented composer, sound engineer, and keyboardist whose studio has been a hub for musicians and artists from around the world for over 30 years.
With the release of the "Osinsky Studio" addon, users now have a unique opportunity to immerse themselves in the atmosphere of most legendary studios. This addon doesn't just introduce a new acoustic environment. It transports you to a place where iconic albums were recorded and famous artists worked.
In the interview, Mr. Osinsky shares his experience working with sound, choosing equipment, and collaborating with musicians.
In the interview, Mr. Osinsky shares his experience working with sound, choosing equipment, and collaborating with musicians.
1️⃣Building the Studio and Choosing Acoustics
How did you build the studio?
The studio was built from scratch. We dug into the ground, removed concrete to create the right acoustic space. The entire room was designed specifically for sound recording tasks.
How did you choose the acoustics?
We experimented a lot. We used different speakers and tested amplifiers. In the end, we settled on Urei 813. They suited the studio's sound the best.
How did you choose amplifiers for the studio?
We tried many amplifiers — American, British, German. In the end, we chose Filigrane. It's a Russian amplifier from St. Petersburg that perfectly matched our speakers. We even consulted with Vadim Volodin, the creator of Pythons, to find the ideal combination. Now the speakers are on special stands, but there are still rubber elements at the bottom that remind us of those car tires.
Were the speakers placed in their current position right away?
No, we moved them around, tried different setups. We even rebuilt the walls several times. At first, the speakers were placed on car tires, which provided the necessary resonance. Eventually, we found the optimal placement.
What other systems did you test?
We tried Genelec, KRK, Yamaha NS.
Adam Speakers in the Studio
In the room, where we do mastering and mixing, we have Adam S3A. The team got used to their sound, so we decided to add them to the main setup. It made sense to maintain a unified approach to sound. By the way, I didn’t even know I was listed as an Adam endorser on their website. They just brought me speakers for testing, and I shared my feedback.
How do you use Auratone in your work?
Auratone is a working tool for checking balance. I return to them several times during mixing and mastering to make sure the midrange sounds right. This helps preserve the aesthetic of the sound. For example, when I listen to jazz, I always pay attention to how the double bass sounds. If it gets lost, something needs to be fixed.
The studio was built from scratch. We dug into the ground, removed concrete to create the right acoustic space. The entire room was designed specifically for sound recording tasks.
How did you choose the acoustics?
We experimented a lot. We used different speakers and tested amplifiers. In the end, we settled on Urei 813. They suited the studio's sound the best.
How did you choose amplifiers for the studio?
We tried many amplifiers — American, British, German. In the end, we chose Filigrane. It's a Russian amplifier from St. Petersburg that perfectly matched our speakers. We even consulted with Vadim Volodin, the creator of Pythons, to find the ideal combination. Now the speakers are on special stands, but there are still rubber elements at the bottom that remind us of those car tires.
Were the speakers placed in their current position right away?
No, we moved them around, tried different setups. We even rebuilt the walls several times. At first, the speakers were placed on car tires, which provided the necessary resonance. Eventually, we found the optimal placement.
What other systems did you test?
We tried Genelec, KRK, Yamaha NS.
Adam Speakers in the Studio
In the room, where we do mastering and mixing, we have Adam S3A. The team got used to their sound, so we decided to add them to the main setup. It made sense to maintain a unified approach to sound. By the way, I didn’t even know I was listed as an Adam endorser on their website. They just brought me speakers for testing, and I shared my feedback.
How do you use Auratone in your work?
Auratone is a working tool for checking balance. I return to them several times during mixing and mastering to make sure the midrange sounds right. This helps preserve the aesthetic of the sound. For example, when I listen to jazz, I always pay attention to how the double bass sounds. If it gets lost, something needs to be fixed.
2️⃣Tracking and Mixing Process
How do you use different monitors during work?
Tracking mainly happens on Urei, while mixing is done on Adam. I spend about 70% of my time on Adam, 20% on PiTone speakers (Master emulation from Osinsky Studio Extra in Realphones 2), and 10% on Auratone for balance checks. It's important that the sound is comfortable at every stage.
What’s your approach to mastering?
Mastering is like exhibiting a painting. You don’t redraw it; you just light it up beautifully. I use several devices: RBass, C1 Waves, Massive Passive, Crane Song, and LA-2A. The main thing is to make the sound comfortable for the listener.
Does the emulation of your studio in Realphones feel similar to the real experience?
Yes, it’s close. I recognize the sound of my speakers and rooms in the headphones. The sensations are similar.
Tracking mainly happens on Urei, while mixing is done on Adam. I spend about 70% of my time on Adam, 20% on PiTone speakers (Master emulation from Osinsky Studio Extra in Realphones 2), and 10% on Auratone for balance checks. It's important that the sound is comfortable at every stage.
What’s your approach to mastering?
Mastering is like exhibiting a painting. You don’t redraw it; you just light it up beautifully. I use several devices: RBass, C1 Waves, Massive Passive, Crane Song, and LA-2A. The main thing is to make the sound comfortable for the listener.
Does the emulation of your studio in Realphones feel similar to the real experience?
Yes, it’s close. I recognize the sound of my speakers and rooms in the headphones. The sensations are similar.
3️⃣Conclusion
Osinsky's studio is not just a place for recording music; it's a space where sound with soul is born. Thanks to meticulous work with acoustics, a unique approach to tracking and mixing, and experience working with legendary artists, the studio has become a benchmark for many musicians. The emulation of this studio in Realphones 2.1 is an opportunity to touch this legacy and feel how music created with love for detail sounds.
The dSONIQ team and the emulations they create are not affiliated, endorsed, or licensed by Auratone, Adam, Genelec, and Urei.
Materials you may find interesting
ADDON FOR REALPHONES 2 The vibrant Osinsky Studio
Is now available in our store!
Is now available in our store!
The Osinsky Studio addon introduces 12 new monitoring options, designed for a wide range of tasks,
from tracking and editing to mixing and mastering.
from tracking and editing to mixing and mastering.
Artists like Tomas Nevergreen, Ricchi e Poveri, Deep Forest, and many others have worked in this studio.
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Try the Osinsky Studio addon in
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Realphones 2 for free
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Buy Osinsky Studio addon
Only users who already have a purchased Realphones 2 license can buy the addon
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