Verité Music


KEY CREW: Sheldon Mirowitz, Ardys Flavelle, Andreas Bjorck

CONSOLE: Yamaha DM2000 96-channel digital mixer

CONVERTERS: Apogee PSX-100 AD/DA Converter

SOFTWARE: Digidesign Pro Tools|HD1 System w/ Digidesign 192 Digital I/O; 4 PC VI Farm (Windows XP), running TASCAM GigaStudio 3; Native Instruments Kontakt 2; numerous soft synths, plug-ins, commercial and custom sound libraries

RECORDERS: Otari MX-5050 BII analog 2-track; Sony PCM-2700 DAT; TASCAM DA-78HR 24-bit 8-track

MONITORING: Ashley M500 Power Amp; Auratone 5C (2); Genelec 1031A (2), 8030A (2); Yamaha NS-10M (2)

VIDEO PLAYBACK: Apple Powermac 8600/300 w/ Aurora FUSE card; Mitsubishi VHS Recorder; Sony DVD Player

MICROPHONES: AKG C461 (2); Electro-Voice RE20; Neumann U47, U67, U87; Shure SM57, SM58, SM81 (3)

OUTBOARD: Focusrite ISA 115 Preamp/EQ; Lexicon PCM91 Digital Reverberator; SansAmp PSA-1; Tube-Tech LCA 2B stereo compressor/limiter; Urei 1176 LN compressor/limiter (2)

INSTRUMENTS: Black Mountain Dulcimer; Epiphone 1965 Texan; Fender 1965 Stratocaster, 1968 Telecaster; Gibson 1956 Les Paul Special, 1972 Les Paul Custom; Guild 1970s D35; Hohner D6 Clavinet; Jerry Jones “Danelectro” Electric Baritone; Kala ukulele; Martin 1957 OOO-18; Moog Minimoog D; Nord Modular; Oberheim Xpander; Russian zither; Stradolin mandolin

AMPLIFICATION: Fender 1962 Bassman w/ 2x12 cab, 1956 Princeton, 1965 Princeton Reverb, 1959 Tremolux 1x12, 1965 Tremolux Head; Mesa Boogie Mark III 1x12 combo, 1964 Vox AC30 2x12 w/ top boost

NOTES: Picture a panoramic landscape of farms, orchards, and tree-lined roads. On the edge of a forest, a two-story bungalow absorbs the scenery in silence. Zoom. Focus. Cue music. Inside, New York and Hollywood flash across the screen as Verité Music provides the soundtrack. Averaging 80 hours a week composing and recording music for television and film can be intensely confining and consuming; Sheldon Mirowitz calls his home-based studio “an antidote to the insanity of the work I do.”

For nearly 20 years Verité Music has been keeping the pace to meet the industry’s demands. When the lease ran out on his downtown Boston studio in 2004, Mirowitz not only envisioned his current facility as a sonic workhorse, but a means to some serenity: “I wanted it to be a place that invites ideas—that meant comfort, light, high ceilings, room to move. The control room needed to sound great, but never at the expense of the feeling of being in the woods, or near the sky, or the great cozy feeling of being in a home.”

With the help of studio designer Rob Rosati, Verité Music’s new home is situated on top of a detached two-car garage overlooking the lush surroundings of suburban Massachusetts. Both visually and sonically appeasing, Mirowitz couldn’t be more pleased with the finished product: “Rob designed the room brilliantly, with a lot of wood, a lot of diffusion, broadband absorption—he even used the area over the stairs (next to the booth) as a giant bass-trap/helmholtz resonator—the room sounds great.”

Add an isolation booth, additional workstation, and office downstairs, and Verité Music was off and running again at its usual pace. This time, Mirowitz surrounds himself in sound and sight with what he calls a “technically first-rate, acoustically quiet—and truly inspiring—environment totally optimized for writing scores.”