An old piano in his childhood house attracted him at a young age. Finding harmonies and chords were his primary musical interests. This became the fundament for improvising joyfully and getting lost in creating spheric movements and musical stories.
Fascinated by sounds, inspired by many streams such as classical, film music, pop, electro, indie, sing & songwriter and jazz music, Reinout intuitively creates synergy and cohesiveness in his musical pieces, composition and arrangements. Subtle and spacious, immersive and compelling. His natural abilities are most a combination of alpha and beta skills which together offer profound unique creations.
With his technical background and experience he co-developed an acoustical processor for enhancing virtual acoustics. A very niche and comprehensive solution for theaters and multipurpose venues. Inherently studio technology and equipment is of great interest to him.
Studio acoustics and studio matters in general were his daily subjects. Now he thrives on advising, sharing his knowledge and inspire people and companies who design and build their own studio and/or listening environment (physical aspects, acoustical threatment, measurements a good working (ergonomic) situation).
The emotional impact of music is fascinating. Wheter it is to lift up images/movies or just pure the music. The strength and/or vunerability, the way it moves and touches, the (building) tension and the releaves. Music brings people together, reunites and has an enormous standalone force.
Music “happens” to you. But how is music “created”? How does music expresses what you want to express and how it tells your story or feeling in an envolving way? It’s very complex and there is no thumb of rule to “get” this and understand this completely. At the other hand there are much tools, guiding rules and experience in building op music, understanding which pieces or fragments contribute to a specific part, how this “lifting up” or emotional “peak” is achieved when composing music. Reinout can help to analyse your music, get you further or back on track when you are lost or need a refreshing view.
Composing, producing, mixing and mastering. The whole process attracted Reinout to develop profound knowledge in all these areas. His alpha and beta skills always goes hand in hand, which result in creative and technical/analytical approaches.
After this pure instinctive process, the analytical engineer comes around the corner and starts shaping by analysing as well by ear as by using practical theory and knowledge as well as scientific criteria to get the best end results. Finding the worklow to work fast and efficient (together with the right gear) is also an important aspect for as well the comfort as the creative flow.
He will always ask you for a reference track and take the time to understand your wishes and needs.
Which atmosphere gives you inspiration to create and work comfortable? How does your studio and/or listening environment sound? Does it emphasises or attenuates certain frequencies from the spectrum? How “honest” does your signal chain reproduces the music you hear? And what is “honest” by this means? Does your mixes translate well on other systems and in other listening environments?
These questions where subject to Reinout when he transformed his listening room into a studio. A studio were he can make music which sounds pleasant (live end) and where he can mix and master accurately(dead end). Of course there are many more approaches. With lots of experiments, curiousity, acquired knowledge and measurements, he succeeded in creating a pleasant and comfortable working environment which sounds good and can be “trusted” sonically. More information will be found soon on a dedicated website. Below you already find a sneak preview…
An existing studio or listening environment has it own characteristics and acoustic signature. Everything in the space has it acoustic influences. In general you will need start with finding the “most ideal” position in the studio where you will be sitting. In other words; a spot where the room modes are least present. There are always frequencies which are attenuated (dips/knots) or emphasised (peaks/antinodes). The most problems (in general) exists below 300Hz. The goal is to get grip on these modals and “flatten” them, since eliminating is nearly impossible (unless changing the physical dimensions).
Our ears can tell us much, but measurements are needed to get an accurate impression about the sound behaviour in your room and on your working position. With these measurements you can see reverb times, clarities how frequencies decay (waterfall) and many other parameters that give you insights about your room.
In most cases it is desirable to achieve a flatten frequency response* on the listening position if mixing and/or mastering is the primary goal. The two first methods (treatments) that are commonly used are sound absorption, which absorbs the sound and diffusion, which diffuses (or scatters) the sound. With these methods (when used in a balanced and overthought way) help a lot to reduce the reverberation time in general, decreases certain problem frequency areas and optimises the room sound.
* a flatten frequency respons by means is a response which is “flat” between the low and high frequencies with a small deviation above and below “0”. See the ITU Studio Standard table below for this deviations.
The ITU Standard(s) are developed to get world-wide accepted acoustical parameters and recommendations regarding listening conditions in designated “Reference” rooms as well as for used equipment (i.e. studio monitors) that needs to comply with these recommendations. To give an idea about the subjects that are involved: Frequency respons, Directivity index, Non-linear distortion, Transient fidelity, time delay and dynamic range. Reinout takes this standard as starting point.