- THE ROOM
Built from the
ground up for one thing: accurancy.
A room-in-a-room build, floated off the structure around it and treated until it tells the truth. This is where Ric sits with your record and judges it — honestly, and at full resolution.
- THE ROOM
Built from the ground up for one thing:
accurancy.
A room-in-a-room build, floated off the structure around it and treated until it tells the truth. This is where Ric sits with your record and judges it — honestly, and at full resolution.
- THE ROOM
Built from the ground up
for one thing:
accurancy.
A room-in-a-room build, floated off the structure around it and treated until it tells the truth. This is where Ric sits with your record and judges it — honestly, and at full resolution.
- THE BUILD
A room
inside a room.
The shell floats free of the structure around it — structure-borne transfer is cut before it starts. Every decoupled cavity is damped, every surface finished, so the room reads flat from first reflection to the modal region.
- THE BUILD
A room
inside a room.
The shell floats free of the structure around it — structure-borne transfer is cut before it starts. Every decoupled cavity is damped, every surface finished, so the room reads flat from first reflection to the modal region.
- THE BUILD
A room
inside a room.
The shell floats free of the structure around it — structure-borne transfer is cut before it starts. Every decoupled cavity is damped, every surface finished, so the room reads flat from first reflection to the modal region.
01. Structure
The building itself. Its noise, its resonance – none of it gets a vote in here.
02. Decoupled air gap
The floating shell never touches the structure – structure-borne transfer ends at the gap.
03. Floating shell
A full room-in-a-room: its own frame, its own mass, isolated from everything around it.
04. Rockwool RWA45
Dense broadband absorption across the spectrum, damping the decoupled cavities.
05. Rockwool RW3
The denser rigid slab – it tames the mass-air-mass resonance so the low end stays honest.
06. Fabric walls
Acoustically transparent – the treatment works from behind it, invisibly.
- THE BUILD
Read the room.
This is the view from the chair. Everything in frame is doing a job — run your pointer over the markers, or tap them, and the room will introduce itself.
- THE BUILD
Read the room.
This is the view from the chair. Everything in frame is doing a job — run your pointer over the markers, or tap them, and the room will introduce itself.
- THE BUILD
Read the room.
This is the view from the chair. Everything in frame is doing a job — run your pointer over the markers, or tap them, and the room will introduce itself.
- THE MONITORING CHAIN
- THE MONITORING CHAIN
Calibrated from
converter to chair.
One reference chain, measured end to end — then a wall of cross-references, because almost nobody hears your record in a treated room.
Calibrated from
converter to chair.
One reference chain, measured end to end — then a wall of cross-references, because almost nobody hears your record in a treated room.
- 01. CONVERSION
Prism Sound Lyra 2
Reference-grade AD/DA — the truth leaves the computer intact.
- 02. CORRECTION
Dirac Live
Frequency and time-domain response corrected at the listening position, measured with a PreSonus PRM1.
- 03. NEARFIELDS
Amphion One18
Passive monitors with nothing hyped and nothing hidden.
- 04. SUBWOOFER
RCF Arya Pro 10
A single sub for controlled low-end authority.
- CROSS-CHECKED ON
- IK Multimedia iLoud MTM - independent second opinion
- HIFIMAN Ananda Nano — planars on a dedicated Topping amp
- Austrian Audio Hi-X65 — open-backs
- AirPods Max & AirPods Pro — where most listeners actually are
If it holds up across all of that, it holds up everywhere.
- THE DESK
An SSL at the centre.
An arsenal behind it.
The desk is anchored by a Solid State Logic UC1 running the full SSL plugin ecosystem — hands on real controls, with an industry standard collection loaded behind every channel.
- THE DESK
An SSL at the centre.
An arsenal behind it.
The desk is anchored by a Solid State Logic UC1 running the full SSL plugin ecosystem — hands on real controls, with an industry standard collection loaded behind every channel.
- THE DESK
An SSL at the centre.
An arsenal behind it.
The desk is anchored by a Solid State Logic UC1 running the full SSL plugin ecosystem — hands on real controls, with an industry standard collection loaded behind every channel.
The mastering arsenal
- FABFILTER PRO
- Crane Song Phoenix II
- Soundtheory Gullfoss
- Soundtheory Kraftur
- oeksound soothe3
- iZotope Ozone
- Empirical Labs Arousor
- Eventide
- Exponential Audio
- UAD
- Softube
- Waves
- Acustica Audio
Sessions run natively in
- Logic Pro
- Pro Tools
- Ableton Live 12
- Bitwig Studio
- HOW RIC WORKS
Hertz Magic.
Not a plugin, not a preset, not something you could buy and run yourself. It’s the working method Ric built over thirty years — his own chain, assembled and re-tuned by hand for every track that comes through. The tools don’t make the calls. He does.
It isn’t sold and it isn’t licensed, because it doesn’t work without him. The only way to hear it is to send a track.
- HOW RIC WORKS
Hertz Magic.
Not a plugin, not a preset, not something you could buy and run yourself. It’s the working method Ric built over thirty years — his own chain, assembled and re-tuned by hand for every track that comes through. The tools don’t make the calls. He does.
It isn’t sold and it isn’t licensed, because it doesn’t work without him. The only way to hear it is to send a track.
- The engineer
Thirty years
at the faders.
Ric Hertz mixes and masters records the way they were made — by hand, in a room built for the job, with ears shaped by studios, live rooms and an ever growing number of finished songs.
1995
The first faders
Music had been the thread all along; the console made it a trade. Early experiments on basic gear turned into paid sessions.
KJM
The studio years
Professional rooms at KJM Music Studios in Hereford — session after session with artists like The Attix, Lucia Nicole and The Undivided.
UK/EU
The records that travelled
Mixing for Verden Allen of Mott the Hoople. A close working relationship with Italian producer Marco Barusso (Lacuna Coil). The last two Rature Power albums out of Ukraine, raw energy intact.
NOW
This room
Everything on this page, engineered from the ground up and aimed at one job: the room tells the truth, so the decisions come faster.
Rooms along the way
Good company
Hands on the desk
In their words
Ric did a great job throughout the whole process. He gave us the space to explore our own ideas creatively while knowing exactly when to step in with guidance to keep everything moving.
When it came to the mix, he really brought the song to life, pulling out details and energy we’d overlooked and helping it become the best version of itself. It always felt like a genuine collaboration, and we’re really pleased with the final result.
- Joe Disson The Undivided · Mix & master
- The engineer
Thirty years
at the faders.
Ric Hertz mixes and masters records the way they were made — by hand, in a room built for the job, with ears shaped by studios, live rooms and an ever growing number of finished songs.
1995
The first faders
Music had been the thread all along; the console made it a trade. Early experiments on basic gear turned into paid sessions.
KJM
The studio years
Professional rooms at KJM Music Studios in Hereford — session after session with artists like The Attix, Lucia Nicole and The Undivided.
UK/EU
The records that travelled
Mixing for Verden Allen of Mott the Hoople. A close working relationship with Italian producer Marco Barusso (Lacuna Coil). The last two Rature Power albums out of Ukraine, raw energy intact.
NOW
This room
Everything on this page, engineered from the ground up and aimed at one job: the room tells the truth, so the decisions come faster.
Rooms along the way
Good company
Hands on the desk
In their words
Ric did a great job throughout the whole process. He gave us the space to explore our own ideas creatively while knowing exactly when to step in with guidance to keep everything moving.
When it came to the mix, he really brought the song to life, pulling out details and energy we’d overlooked and helping it become the best version of itself. It always felt like a genuine collaboration, and we’re really pleased with the final result.
- Joe Disson The Undivided · Mix & master
- The engineer
Thirty years
at the faders.
Ric Hertz mixes and masters records the way they were made — by hand, in a room built for the job, with ears shaped by studios, live rooms and an ever growing number of finished songs.
1995
The first faders
Music had been the thread all along; the console made it a trade. Early experiments on basic gear turned into paid sessions.
KJM
The studio years
Professional rooms at KJM Music Studios in Hereford — session after session with artists like The Attix, Lucia Nicole and The Undivided.
UK/EU
The records that travelled
Mixing for Verden Allen of Mott the Hoople. A close working relationship with Italian producer Marco Barusso (Lacuna Coil). The last two Rature Power albums out of Ukraine, raw energy intact.
NOW
This room
Everything on this page, engineered from the ground up and aimed at one job: the room tells the truth, so the decisions come faster.
Rooms along the way
Good company
Hands on the desk
In their words
Ric did a great job throughout the whole process. He gave us the space to explore our own ideas creatively while knowing exactly when to step in with guidance to keep everything moving.
When it came to the mix, he really brought the song to life, pulling out details and energy we’d overlooked and helping it become the best version of itself. It always felt like a genuine collaboration, and we’re really pleased with the final result.
- Joe Disson The Undivided · Mix & master
- OUTPUT
Now put your record
on these monitors.
Four services, priced per track, revisions included. Production support and straight answers come free with all of them.
- OUTPUT
Now put your record
on these monitors.
Four services, priced per track, revisions included. Production support and straight answers come free with all of them.