allows bass frequencies to develop properly, which is especially critical for Dolby Atmos mixing. The extra-large control room is a huge benefit, because worship music today often depends on low end frequencies— kick drums, bass, synths— that need space to“ breathe.”
[ WM ] You mentioned Dolby Atmos. Tell us more about the monitoring system?
[ Drew ] We installed a 7.1.4 Genelec system in the control room, tuned by Dolby to meet all Atmos specs. Genelec’ s GLM software calibrated the room beautifully. When people hear it for the first time, it’ s definitely a“ Wow” moment!
Worship is communal— it’ s about being in the room with others, lifting your voice together. Atmos lets us recreate that immersive environment. It’ s much more than just“ surround sound”— it draws the listener into the worship experience.
[ WM ] Studio gear always tells part of the story. What were your centerpiece decisions?
[ Drewe ] The SSL Duality console is the heart of Studio33:3. We acquired it from a Michigan college that had closed, and Vintage King rebuilt it to be like new. The Duality is really powerful: you can run it fully analog, fully digital, or hybrid with DAW control. The EQs and dynamics on every channel, plus the sound of SSL itself, give us so much flexibility.
For digital to analog conversion, we chose Lynx Aurora which gives us 64 channels of pristine analog and 64 channels of Dante. They also handle our bass management for Atmos not to mention has built in SoundID acoustic room correction which helps keep our surround sound setup perfectly calibrated.
Our mic locker is another highlight, stocked with some true classics and versatile workhorses. A few of my personal favorites include the Telefunken Elam 251, which shines on vocals, acoustic guitar, and even drums; the Neumann U67, known for its warm, clear tone that’ s incredible on acoustics; and the Flea 47, a character-rich take on the iconic Neumann U47. We also rely on Coles ribbons for beautifully smooth room and overhead captures, while our matched pair of Neumann U87s serve as dependable, go-to mics for just about any application. It’ s a collection that lets us capture worship authentically at the source.
[ WM ] Sounds like the space is designed to be“ plug and play” for musicians?
[ Drew ] Absolutely. We use Triad-Orbit mic stands with quick-release mounts. Every major mic is fitted, so you just pop it on— no threading. Our drum kit lives in the live room with a quick setup process. We also keep a selection of instruments on hand: an OM Martin acoustic, a Gretsch White Falcon electric, a Fender American Professional Strat, a Jazz Bass, and a P-Bass. Obviously, artists usually bring their own favorite Guitars, but it’ s great to have a selection of professional instruments if the session calls for it.
[ WM ] On a personal level, what does it mean to you to see Sarah’ s vision realized here?
[ Drew ] Sarah was an amazing worship leader and friend. She would have loved this studio— not just the gear, but what it stands for.
For me, it’ s humbling to see God bring beauty out of sorrow. Every time I walk into the studio,
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