Immersive music production

Lindberg Lyd is the production company behind 50 GRAMMY nominations in craft categories Best Engineered Album, Best Surround Sound Album, Best Immersive Audio Album and Producer of the Year. Grammy Award-winner 2020 and 2026.

Venue recording and music editing. Certified Dolby Atmos and Auro-3D mastering studio.

2L mastering room

In addition to serving as the post-production facility for 2L , this listening room is available for reference quality control (QC) and evaluation of external productions across various genres. Operated by engineer and producer Morten Lindberg, this studio is equipped with state-of-the-art technology.

Designed specifically for immersive work, it offers exceptionally accurate acoustic performance and conforms to all criteria specified in ITU-R BS.1116-3 recommendations. The room was built to avoid discriminating directionality and to provide a spacious, enveloping listening experience across the full audible range. With carefully controlled reflections, diffusion, absorption, low-frequency treatment, and a Genelec ONE + W 9.1.6 monitoring system, it delivers a listening experience that is both rich and highly detailed. Roon Labs server emulate the consumer experience in adjoining domestic environments.

Our facility is committed to sustainability and is Carbon Neutral. It is powered by our own solar cell grid and utilizes geothermal heat exchange to maintain warmth during the Nordic winters.

Recording immersive music

The beauty of the recording arts is that there is no fixed formula and no blueprint. It all comes out of the music. Every project starts out by digging into the score and talking with the composer, if contemporary, and the musicians. It is not our task as producers and engineers to try to re-create a concert situation with all its commercial limitations. On the contrary; we should make the ideal out of the recording medium and create the strongest illusion, the sonic experience that emotionally moves the listener to a better place.

Using our unique immersive microphone array, the 2L-cube, we record in spacious acoustic venues: large concert halls, churches and cathedrals. This is actually where we can make the most intimate recordings. The qualities we seek in large rooms are not necessarily a big reverb, but openness due to the absence of close reflecting walls. Making an ambient and beautiful recording is the way of least resistance. Searching the fine edge between direct contact and openness – that’s the real challenge! A really good recording should be able to bodily move the listener. This core quality of audio production is made by choosing the right venue for the repertoire, and by balancing the image in the placement of microphones and musicians relative to each other in that venue.

There is no method available today to reproduce the exact perception of attending a live performance. That leaves us with the art of illusion when it comes to recording music. As recording engineers and producers we need to do exactly the same as any good musician: interpret the music and the composer’s intentions and adapt to the media where we perform. Immersive Audio is a completely new conception of the musical experience. Recorded music is no longer a matter of a fixed one- or two-dimensional setting, but rather a three-dimensional enveloping situation. Immersive Audio is a sculpture that you can literally move around and relate to spatially; surrounded by music you can move about in the aural space and choose angles, vantage points and positions. Rather than reproducing a concert situation we consider the Recording Art a discipline on its own. It gives us the possibility to place the listener in an ideal position and become an actual party to the event. Thru a dedicated production of the music we can maximize energy, reveal all the small nuances and avoid disturbing distractions. The emotional impact can be made massive. The conductor’s position is the seat no audience can afford — until now with these dedicated recordings.