Glenwood Place Studios

It’s not easy to hide away in the middle of LA. But the artists who make it to Glenwood

Place Studios will tell you that it is possible. These famed studios manage to feel concealed from the public eye in Burbank, allowing platinum clientele to create within an inspiring oasis.


Criterion Acoustics (CA) was called on to expand on Glenwood Place’s offerings, by turning its existing Studio D into two new studios, Glenwood Gold and Glenwood Silver, with a lounge and private outdoor patio areas. Led by CA President Dave Kotch, his team provided architectural design, studio design, interior design and landscape design for the studios. In addition, CA fabricated all custom acoustic diffusers and loudspeakers for both spaces.


“Our goal at Glenwood is to provide very creative surroundings for the artists—visually inspiring, comfortable and inviting,” says Kit Rebhun, Director, Studio Operations for Glenwood Place. “We accomplish this by taking every element into consideration from the choice of colors, lighting, furnishings, and garden courtyards. Our studios strive to be one step ahead both acoustically and technologically.” 


“Glenwood Place has a rich history, and they wanted a forward-looking addition with these new rooms,” Kotch says. “They needed to feel refreshing – not like a studio, more like a living room that’s a great place to make music. The Gold and Silver studios also needed to be fully networked, so two teams could collaborate if desired. This being LA, a beautiful outdoor lounge space was also a must.”  


CA oversaw a design that incorporated spacious control rooms with a warm, inviting feel. Collaborating with Rebhun on the interior design, CA paired neutral colors and warm lighting with wainscoting, brick, and exposed beams, as well as taking advantage of a skylight in one studio for additional ambiance. Neve Custom Series 75 consoles are paired with custom self-powered Augspurger monitors designed specifically for Glenwood Place, providing punchy and robust critical listening in a compact speaker footprint.


Each studio has an adjacent live space that extends the capabilities. One of the live rooms is midsize to easily accommodate a piano or drum kit, while the other functions as a vocal iso booth.  


“Obviously the rooms have to sound fantastic and translate well, and this was achieved by Criterion Acoustics,” notes Rebhun. “The sense of ease and the flow came together with a sensitivity to aesthetics, making every space appealing and refreshing. Visually, technically and acoustically it all combined perfectly for a timeless, limitless feel.


“Criterion Acoustics were extremely open to the new ideas and materials we wanted to use,” Rebhun continues. “We had a very clear idea about these rooms visually, and they incorporated the acoustics that worked perfectly.”  


Jacob Dennis, Chief Engineer for Glenwood Place, adds, “In my experience being in the studio, and particularly for writing sessions, I feel the environment plays a major role in putting people in a creative mindset. Additionally, as an engineer I need the room to be functional and also translate. Glenwood Gold and Silver do a fantastic job of marrying those two worlds.”


With its new spaces, Glenwood Place Studios sets the pace for music production. “The traditional studio model is changing,” observes Dave Kotch. “We’re seeing it move from a few studios with sizable live rooms to multiple studios with larger control rooms, which makes it even more inviting for artists to hang out and make music together. With its dual directives of pristine acoustics and a warm look and feel, Glenwood Place pushed Criterion Acoustics to innovate with our materials and design choices. The result is a new creative haven for LA’s top artists and emerging talent.”


Studio Design Team: David Kotch & Marc Picciotto – Criterion Acoustics

Interior Design: Kit Rebhun

Contractor: Brad Keeler – Progressive Designs

Studio Integration: Bruce Millet


Technical Specifications: 

Studio Gold

Console: Custom Series 75 (8 Channel) 

Main Monitors: Dual 10” Custom Augspurger

Near Field Monitors: Focal Trio6 be

Room Dimensions: Control Room = 21’ 6” X 11’ 5”  

Vocal/Overdub Booth = 5.5w X 13l X 8.5h

Outboard Gear: 

Mic Pres — Chandler TG2 (2), Neve 1073 (2)

Dynamics — Smart Research CL1A (1), SSL 611DYN (2), Tube-Tech CL1B(1), Teletronix LA-2A (1)

Equalization — Pultec EQP-1A3 (1), SSL 611EQ (2)

Other — A Designs REDDI V2 Dual Mono Tube Direct Box (1); Heritage Audio BT 500 (1)


Studio Silver

Console: Custom Series 75 (8 Channel) 

Main Monitors: Dual 10” Custom Augspurger

Near Field Monitors: Focal Trio6 be

Room Dimensions: Control Room = 19’ 8” X 13’ 11”  

Vocal/Overdub Booth = 10’ 4” X 5’ 2”

Outboard Gear: 

Mic Pres — Chandler TG2 (2), Neve 1073 (2)

Dynamics — Smart Research CL1A (1), SSL 611DYN (2), Tube-Tech CL1B(1), Teletronix LA-2A (1)

Equalization — Pultec EQP-1A3 (1), SSL 611EQ (2)

Other — A Designs REDDI V2 Dual Mono Tube Direct Box (1); Heritage Audio BT 500 (1)


APG “A Studio” Los Angeles

Criterion Acoustics’ (CA) expertise was essential to an important new addition to major label recording. The recently opened “A Studio” in Los Angeles is a next-generation creative space built around highly advanced recording studio facilities, founded by Artists Partners Group (APG), Atlantic Records and Warner Music Group (WMG).


Consisting of four studios, editing and writing rooms, executive offices and a shared communal space, the complex will serve artistic endeavors from across WMG’s family of labels – including Atlantic, Warner Bros. and their subsidiary labels – as well operating as an A&R incubator for new talent.


CA collaborated extensively with Mike Caren, Founder and CEO of Artist Publishing Group and Artist Partner Group/Creative Officer of WMG, and Atlantic Records Chairman & CEO Craig Kallman to bring the partnerships’ vision to life. Services provided by CA include recording studio design, internal room acoustics, noise and vibration control, sound isolation, AV systems, mechanical noise control, and more.


The “A Studio” was the subject of a feature article in Billboard. Discover more details about this groundbreaking facility here.


(Photo credit: Elisabeth Caren)

Scarsdale Mastering

A Grammy-nominated mastering engineer envisioned a professional-grade critical listening environment in his home.


Criterion Acoustics were hired to design the studio, provide full construction documentation and assist with product procurement.


An avid DJ in his spare time, he also wanted to incorporate a cabinet into the design to store his thousands of records. Criterion Acoustics gave this component a dual purpose, creating a custom record cabinet which also functions as an acoustical diffusor when filled with records.

Human Studios

Project Closeup: Criterion Acoustics Designs a Dual-Purpose Studio for Human Worldwide


In New York City, nobody wants to waste a single square foot. Music company Human Worldwide is getting the most out of composer/founder Andy Bloch’s studio, owing to an innovative two-rooms-in-one design by Criterion Acoustics (CA).


Human has established itself as a top player, writing original music and sound design for advertising, film, TV and interactive media, sporting a client list that includes Nike, Diet Coke, Google, Adidas, Delta Airlines and many more global brands. When Bloch’s original studio was ravaged by a fire, he seized the opportunity to quicken his workflow by combining his control room and live room into one space.


“We’re seeing more and more demand for multipurpose rooms – in this case, it’s for composing and recording,” says Dave Kotch, Co-founder of Criterion Acoustics. “People do it because it saves on space, so it saves on cost. Also, music creators don’t always need a live room. There are fewer live instruments being used in sessions, so combining a control room with a live room makes sense.”


Bloch chose Criterion Acoustics to execute an upgrade in the sound, functionality and aesthetics of his Union Square facility, where he routinely records multiple live instruments, then has to execute a quick mix. “We had a live room and production room, but they never sounded good,” Bloch says. “It became more of a hassle to go get a drum mic then to dial up a sample, so the live space became a storage room and a mess. After the fire I said, ‘Let’s do it right.’ It was now or never.


“This is a laptop-based virtual industry, but to have a live room and record real music is the way that I came up. It’s a great asset, and you ultimately make better music in that kind of environment.”


Making it Multipurpose


Criterion Acoustics designed a comprehensive program for the studio, including full internal room acoustics, sound isolation from the existing rooms and mechanical noise control.


The project’s major challenge was to make one side of the room suitable for recording, while the other would be highly accurate for mixing. “For any kind of live room, especially when you’re recording drums, you want a reverberant room sound,” explains Sam Neff, Co-Founder of Criterion Acoustics. “Whereas in a critical listening environment, you want it to be flat so you can get an accurate mix.


“You don’t want a real live mix room with any reflections, because then everything you mix is going to end up sounding dead. We made it flat on the side he mixes on with acoustical absorbers, and put more reflective surfaces on the other side.”


Criterion Acoustics was selective about the acoustical materials that were used, specifying hardwood floors, high-quality carpet, and maple wood treatments throughout – even in the ceiling clouds — to create natural reverb tones that would best represent the piano and drums.


The firm also mastered a tricky HVAC system at Human. “The HVAC is the coolest thing,” says Bloch.Criterion Acoustics came up with a great solution. It’s very quiet and comfortable, with beautiful baffles that they designed.”


Better Faster


For Andy Bloch, his new room at Human provides everything he needs to turn around a national spot in as little as a few hours – and look sharp doing it.


“If you’re actually going to put up a mic and capture a performance, the room has to sound good, and the performer has to get something back from the room,” he states. “And clients love to hang out in these places — that’s important to keep in mind when you’re creating a live room and acoustic environment.


“When you make music for advertising media, we don’t have the luxury of sitting around for weeks and months, fine-tuning. Our tracks have to sound as good as records, and it has to happen immediately. A studio like this gives you an edge.”


— CA