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Founded in 2008, Shanghai Chriying Culture has relocated to a new facility in the Chinese city. Sue Su pays a visit
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L–R: Feng Shunxian and Wang Jiajie in Studio A SHANGHAI CHRIYING CULTURE HAS A TRADITION OF working with Hollywood mix engineers to provide total sound solutions for large-scale Chinese movies and video games, including Honor of Kings and League of Legends. Its talented team consists of graduates from the Shanghai Conservatory of Music and Shanghai Theater Academy. In recent years, the company’s business has expanded into the field of original animated film and AI animation. Given this expansion, especially the increase in market demand for
Dolby Atmos, the company has moved from its original 300m2 production facility into a cultural and creative park located on Mengzi Road, Shanghai. The new facility is approximately 1,000m2, providing Chriying Culture with three Dolby Atmos production studios, three voice recording studios, four editing rooms and a Foley studio. Two of the Dolby Atmos studios are installed with Meyer Sound speakers, the larger one becoming the first studio in China to feature Bluehorn as a professional monitoring system.
Studio A is the first in China to feature a Bluehorn monitoring system
Chriying Culture’s team had no previous experience of Meyer Sound products before the move, deciding on the brand purely because they were blown away by its sound. “Our studio is relatively large, so we wanted a big speaker, but we didn’t want it to sound as if it was unnaturally amplified and coming from a speaker and would instead provide ample, natural-sounding coverage for the room,” explains Feng Shunxian, senior composer at Chriying Culture. “We tried our best to listen to different brands based on the requirements of Dolby Atmos, but we couldn’t find a satisfactory solution until we listened to Bluehorn at the showroom of Meyer Sound’s distributor, Shanghai Broad Future. We were pleasantly surprised at how amazing the speakers sounded; our struggle to choose a system was over.” The Bluehorn system has been installed in Dolby Atmos Studio A, the largest studio in the facility, which is mainly used for recording, mixing and film screenings, with a control room and live room each measuring 45m2. The monitor system has been designed to comply with the standards of a 9.1.6 theatre screening room. The left, centre and right channels are catered for by one Bluehorn speaker, with 10 Meyer Sound HMS-5 and two HMS-10 speakers for the surround and overhead channels. Two Amie-Subs have been added to the surround channels to supplement the low frequencies, while the ultra-low frequencies are reinforced by an X-1100C high-power cinema subwoofer. “Because this is a horn-based system, there’s not much difference in sound when listening from any position in the room,” continues Feng. “It has wide coverage, very clean mid and high frequencies and a very flat frequency response. Its low frequency is particular impressive with sufficient power and depth and at the same time the separation is very clear, which is really rare.” “As mix engineers, what we most want to hear is what the low frequencies are doing,” adds Chriying Culture’s senior mix engineer, Wang Jiajie. “If the low frequency is muddy, it is very easy for us to make mistakes. But Bluehorn, like other speakers from Meyer Sound, is very strong in low-frequency separation. The sound and image separation of each instrument is very clear; I’m able to hear all the details clearly, even very small things. This is a feature that mix engineers particularly appreciate.”
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