Issue link: https://digital.copcomm.com/i/1524863
126 M PS E . O R G bit unlucky with leases and such, and the buildings in Copenhagen are often very old and therefore, more difficult to soundproof. So as I've gotten older, I can't really move around as much. That's why I've now set up a studio here at home. On the other hand, this is the first time I've built a studio exactly the way I want it. Of course, it has to work acoustically and so on, but it also has to be cozy and comfortable. Over the years, my setup has become more and more fixed. I use the same furniture and a small desk. Initially, I thought it was going to be a 5.1 setup. But because it took so long to build while the process was going on, Dolby Atmos has become more popular in the gaming world. There are also a couple of projects I'm working on that are in Atmos. So it was obvious to get it installed. In the big picture, putting a couple of extra speakers in the ceiling is not a big expense. But it's a huge hassle if it's something you have to do later on. Peter Albrechtsen MPSE: It seems like this studio contains technologies from a lot of different eras? MSA: Throughout my career, I've worked with many different devices that I've bought for specific projects. I bought that Studer machine when I was making Limbo. It's fun to work with tape machines. I also have a wire recorder that I used a lot in Limbo. There are a lot of things here that have just become a regular part of my workflow. I also use a lot of tube distortion. At the moment, I'm working in Nuendo, but I kind of have an ambition to move to Reaper. I've connected the Studer machine to my system as a kind of external plug-in, so I can run all my sounds through the recorder without having to record it on the recorder and play it back again. So, I just have the recorder connected directly to Nuendo as a kind of plug-in. Then I just record it Martin Stig Andersen's Dolby Atmos home studio includes a 1970's Studer A80 tape machine.