{"id":61214,"date":"2025-08-08T18:03:17","date_gmt":"2025-08-08T17:03:17","guid":{"rendered":"https:\/\/www.synthax.co.uk\/latest\/?p=61214"},"modified":"2025-08-21T16:05:19","modified_gmt":"2025-08-21T15:05:19","slug":"rme-m1620-pro-shoreditch-studio-dominik-scherrer","status":"publish","type":"post","link":"https:\/\/www.synthax.co.uk\/latest\/2025\/08\/08\/rme-m1620-pro-shoreditch-studio-dominik-scherrer\/","title":{"rendered":"Inside Shoreditch Recording Works: Dominik Scherrer\u2019s High-End Composer Studio Powered by RME"},"content":{"rendered":"\n<p><\/p>\n\n\n<div class=\"article-wrapper\">\n<div class=\"header-img quote-container\"><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-60165\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Shoreditch-Recording-Works-2.jpg\" alt=\"Shoreditch Recording Works from behind the mix position\" width=\"2560\" height=\"1397\"><\/div>\n<h2>Film &amp; TV Composer Dominik Scherrer takes us inside his new recording studio<\/h2>\n<p>Award-winning TV composer Dominik Scherrer recently opened <strong>Shoreditch Recording Works<\/strong>, a purpose-built studio nestled in East London\u2019s creative hub.<\/p>\n<p>Designed to meet the high demands of modern film and TV scoring, the studio balances flexibility, pristine acoustics and future-proof technology \u2013 with <a title=\"What is MADI? | Synthax Explains\" href=\"https:\/\/www.synthax.co.uk\/latest\/what-is-madi-guide-tutorial-faq\/\">RME&#8217;s MADI ecosystem<\/a> at its core. We sat down with Dominik to explore the space, learn more about his scoring process, and why he chose a workflow without an analogue desk.<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"Inside TV Composer Dominik Scherrer's Recording Studio | RME M-1620 Pro\" src=\"https:\/\/www.youtube.com\/embed\/4zLIeotuhyc\" width=\"1840\" height=\"1035\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>A Composer\u2019s Path<\/h2>\n<p>&#8220;Shoreditch Recording Works is a new studio we built for myself and for others who want to record here,&#8221; Dominik begins.<\/p>\n<p>From his roots in arthouse cinema to composing high-profile dramas such as <em>The Tourist<\/em>, <em>The Missing<\/em>, <em>Ripper Street<\/em>,&nbsp;<em>Miss Austen<\/em> and <em>The Assassin<\/em>, Dominik\u2019s work blends orchestral elegance with electronic textures.<\/p>\n<p>But despite his long list of credits, it\u2019s somewhat reassuring to hear he still has doubts about his work.<\/p>\n<p>&#8220;Actually when you are working, you always feel like you are a complete amateur,&#8221; Dominik explains. &#8220;Because you encounter so many situations where you don&#8217;t really know what you&#8217;re doing. But that&#8217;s part of the excitement of the job. You have new challenges every time.<\/p>\n<p>&#8220;Each production is different. Each script is different. When you first read it, you might find yourself going \u2018ooh, I actually don&#8217;t know how is this going to work.\u2019<\/p>\n<p>\u201cBut that\u2019s the challenge. How can I make this project exciting? How can we lead into the core of this story? And there are many ways of doing it, and in the end you choose one way. And also you&#8217;re kind of nervous about it &#8211; you never really know for certain that you\u2019re going about it in the right way.<\/p>\n<p>\u201cBut at some point you have to make a decision, and I love the challenge, the adrenaline from how I\u2019m going to make this work.\u201d<\/p>\n<\/div>\n<div>&nbsp;<\/div>\n<div class=\"article-wrapper\"><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61238\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Studio-the-tourist-missing-miss-austen.jpg\" alt=\"Some of the titles scored by Dominik Scherrer\" width=\"2560\" height=\"1397\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Studio-the-tourist-missing-miss-austen.jpg 2560w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Studio-the-tourist-missing-miss-austen-300x164.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Studio-the-tourist-missing-miss-austen-1024x559.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Studio-the-tourist-missing-miss-austen-768x419.jpg 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Studio-the-tourist-missing-miss-austen-1536x838.jpg 1536w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Studio-the-tourist-missing-miss-austen-2048x1118.jpg 2048w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/>\n<p>&nbsp;<\/p>\n<h2>On scoring Period Dramas<\/h2>\n<p>Just like the script and visuals, Film and Television leans heavily on its soundtrack. A well-constructed score can subtly convey emotion, elevate the story and lead you through the narrative. As much of Dominik\u2019s work resides in historical places and times, we were curious to know how much of an influence that has on his choice of instrumentation and musical styles.<\/p>\n<p>\u201cWell, I think when you\u2019re scoring a period film or TV series, that doesn&#8217;t mean you have to be authentic to the period,\u201d Dominik explains. \u201cBecause I think ultimately what people want is a more \u2018cinematic experience\u2019.<\/p>\n<p>\u201cYou can definitely hint at it. I always do extensive research for anything I do, whether it&#8217;s a location or the time period. And I do enjoy the research part, because it&#8217;s often when your first ideas start to form.<\/p>\n<p>\u201cThat could be a specific instrument you hadn\u2019t thought of, or a musical idea sparked by looking at sheet music from the period.<\/p>\n<\/div>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61321\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Shoreditch-Recording-Works-collage.jpg\" alt=\"Dominik CHerrer collage\" width=\"1800\" height=\"982\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Shoreditch-Recording-Works-collage.jpg 1800w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Shoreditch-Recording-Works-collage-300x164.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Shoreditch-Recording-Works-collage-1024x559.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Shoreditch-Recording-Works-collage-768x419.jpg 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Shoreditch-Recording-Works-collage-1536x838.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\" \/><\/p>\n<p>&nbsp;<\/p>\n<div class=\"article-wrapper\">\n<p>\u201cWorking on <em>Miss Austin<\/em> for example, I knew Jane Austen herself was an accomplished pianist. So I looked up what kind of songs she liked to play, which was mostly more popular songs, rather than say Beethoven or famous classical pieces. So that became another source of inspiration.<\/p>\n<p>\u201cI think there are potentially soundtracks that exist which are completely accurate to the period, but I don&#8217;t think that&#8217;s done too often. Even with something like <em>Amadeus<\/em>, there\u2019s a lot of stuff in there that\u2018s not really Mozart or true to the time period. But it still gives that illusion that it takes you back to that time.<\/p>\n<p>\u201cI mean it&#8217;s similar to other parts of the production \u2013 the costumes and makeup may not be done exactly how it would have been 200 years ago etc. It&#8217;s usually more about creating something new that appeals to audiences now.<\/p>\n<p>\u201cI did a show called <em>Ripper Street<\/em>, which was set around the time of Jack the Ripper in the East End of London. It was a sort of \u2018big thriller\u2019, and it had to have a kind of muscular, amplified bass.<\/p>\n<p>\u201cBut I did feed in some instruments that would have been used in the period, like the Banjo, which was used a lot in music halls around here at the time. And then just some solo fiddle &#8211; because there was a lot of Irish immigrants &#8211; and other plucked elements.<\/p>\n<p>\u201cSo sure, you may want to include some elements like that, but ultimately the goal is to create something cinematic and grand.\u201d<\/p>\n<\/div>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61293\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-programming-room.jpg\" alt=\"Three men sat in the programming room in Shoreditch Recording Works\" width=\"1800\" height=\"1013\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-programming-room.jpg 1800w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-programming-room-300x169.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-programming-room-1024x576.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-programming-room-768x432.jpg 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-programming-room-1536x864.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\" \/><\/p>\n<p>&nbsp;<\/p>\n<div class=\"article-wrapper\">\n<h2>Dominik Scherrer on Process and Workflow<\/h2>\n<p>Dominik likes to begin early in the production pipeline, often writing themes from the script alone. \u201cMy ideal workflow is that I start early,\u201d he says. \u201cSo once I\u2019ve been sent a script, we\u2019ll have a chat with the show runner, the director or the lead director, about what kind of things could work.<\/p>\n<p>\u201cEveryone is quite open-minded at this stage, and in this field you don&#8217;t generally get a brief. I used to write music for commercials occasionally, and there you always had a clear brief from production, a specific style or genre. Whereas with film music you\u2019re generally expected to come up with the concept yourself.<\/p>\n<p>&#8220;I pick out maybe five scenes where I know music will be important, and score them without any picture initially.<\/p>\n<p>\u201cThen they start shooting, and I may even go and visit them on set, so I can get a bit of \u2018the vibe\u2019 of the production, and see the cast. Sometimes the little conversations that you have during this time can become quite important.<\/p>\n<p>\u201cAnd then I start to send these tracks to the cutting room. Some things won&#8217;t get used at all, so that in itself can be an indication of the direction we should go. So it&#8217;s sort of a playful, organic process that happens gradually. On any production they always have to use music for the cut anyway, and I&#8217;d rather for it to be my own music that&#8217;s especially made for the show, rather than them using third party temp music.<\/p>\n<p>\u201cEventually you&#8217;ll have a sort of mocked up soundtrack that you then send off for approval. You may get sent some feedback, and you\u2019ll have a bit of a back and forth. That&#8217;s quite a fun part of the process &#8211; I quite like having the production\u2019s input, because now you really begin to understand what the whole story is about.<\/p>\n<p>\u201cAnd then eventually you will orchestrate your cues, working with an orchestrator to prepare all the sheet music, before recording all the orchestral parts or any live parts. Be this at Abbey Road or Air Studios in London. But now any kind of smaller line-ups we may do in here. We can do up to 13 or 14 players, so we have that flexibility if the big studios aren\u2019t available.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61242\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-recording-strings.jpg\" alt=\"Three violinists recording at Studio Recording Works\" width=\"2560\" height=\"1397\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-recording-strings.jpg 2560w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-recording-strings-300x164.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-recording-strings-1024x559.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-recording-strings-768x419.jpg 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-recording-strings-1536x838.jpg 1536w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-recording-strings-2048x1118.jpg 2048w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<h2>Designing Shoreditch Recording Works<\/h2>\n<p>With up to 14 live players at a time, Shoreditch Recording Works was built to handle exactly this type of work. After years in a smaller Brick Lane studio, Dominik set out to build a larger space that could double as both a control room and live room \u2013 ideal for chamber lineups, overdubs, and immersive mixing. Built with Miloco Studios, the acoustics are tuned for transparency and are Dolby Atmos-ready.<\/p>\n<p>\u201cMy spec was to have the space to record a string section of 14 players, but also to have an acoustically optimised environment for mixing. We have a large control room which was intentional &#8211; rather than having a small control room and another live room, we just wanted to make one big, beautiful space where you can record, write and mix in as well.<\/p>\n<p>\u201cIf you think about strings, that means three first violins, three seconds, three violas, maybe two or three celli, and then there can be some double basses, which here we can have in the room next door. You can have the window or the double doors open, so you have a bit of separation but keep it natural.<\/p>\n<p>\u201cA lot of studios in the area are very much mix-based, but they&#8217;re not so well set up for recording. I wanted both &#8211; a room with a great mix set up which can also be used to create really good recordings.<\/p>\n<p>\u201cWe also wanted to have Dolby Atmos capabilities which we can do in here, 7.2.4. But I also wanted to have acoustics that will translate really well to any kind of dub stage, plus have the room for outboard. So that was my spec, and we worked with Miloco on the design. It took a while to build it, but now we&#8217;re here.<\/p>\n<p>\u201cIt was previously a kind of meditation centre for Buddhists. I liked that idea, so hopefully some of that vibe is still here now. Plus we are in a sort of cool area in this part of town, Shoreditch, and it&#8217;s a place where people like to come and hang out.<\/p>\n<p>\u201cIt\u2019s good for modern chart music productions too, who often have a lot of writers on one song. It\u2019s quite collaborative, so big teams can come in here. Writers can have their own little workstations and keyboards set up, and you can be doing vocals next door.<\/p>\n<p>\u201cIt&#8217;s also completely silent in here, which lets us record things like really quiet strings, where they\u2019re using the lightest of touches. That all really works in here. I\u2019ve had trouble with that kind of thing in the past, because even when you think it&#8217;s quiet it never completely is, and you have to go in with noise removal and RX to remove it.<\/p>\n<p>\u201cWe also have a smaller live area. The piano is going in there in a couple of weeks. We can also do drums, and we did a lot of brass in here on one production that we&#8217;ve just finished up. That actually worked out really well, and sounded very nice! &nbsp;<\/p>\n<p>\u201cI do have another studio at home where I do a lot of writing still, and I\u2019m happy because I can do my little tunes there, then can bring them in here and we make it all sound really good.\u201d<\/p>\n<\/div>\n<div>&nbsp;<\/div>\n<div class=\"article-wrapper\"><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61264\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-TotalMix.webp\" alt=\"Displays showing RME's TotalMix FX software and Avid S1\" width=\"1536\" height=\"1920\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-TotalMix.webp 1536w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-TotalMix-240x300.webp 240w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-TotalMix-819x1024.webp 819w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-TotalMix-768x960.webp 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-TotalMix-1229x1536.webp 1229w\" sizes=\"(max-width: 1536px) 100vw, 1536px\" \/>\n<p>&nbsp;<\/p>\n<h2>Digital-First Philosophy<\/h2>\n<p>One of the most striking features of Studio Recording Works is the lack of a traditional mixing desk. Instead, the entire routing and monitoring setup runs digitally via RME\u2019s TotalMix FX and MADI-based infrastructure.<\/p>\n<p>\u201cI think there&#8217;s a lot of studios where an analogue desk is the centrepiece, Dominik says. \u201cEspecially with a studio of this size and spec, because that&#8217;s what people want to see. Maybe some people still prefer an analogue desk for tracking, and they\u2019re great for that. But for everything else it&#8217;s basically in the way.\u201d<\/p>\n<p>\u201cActually one of the inspirations was a studio called Miraval in the South of France, Brad Pitt\u2019s property where they rebuilt the studio. Their studio is bigger than this and it looks fantastic, and it has no analogue desk. I thought, \u2018if they had the courage to be as bold, then we can do the same\u2019.\u201d<\/p>\n<p>This approach allows for the placement of an 88-key digital piano front and centre, as well as eliminating unnecessary signal degradation from additional analogue stages.<\/p>\n<p>Instead, routing and monitoring are handled via RME\u2019s TotalMix FX, part of a fully MADI-based digital system anchored by RME\u2019s HDSPe MADI FX card.<\/p>\n<p>&#8220;TotalMix allows us to do all the routing, cue mixes, everything,\u201d Dominik says. \u201cIt&#8217;s really become the centrepiece here.&#8221;<\/p>\n<p>\u201cWe still have some outboard, which is all running through an analogue patchbay but with digital control, so you can recall your patches without physically changing any of your cables.<\/p>\n<p>\u201cThe outboard is more geared towards \u2018vibey\u2019 &#8211; I think most of it is valve-based. It&#8217;s just to have another option, because everything else of course is a purely digital, in-the-box workflow. But it\u2019s there if people want that sound.\u201d<\/p>\n<\/div>\n<div>&nbsp;<\/div>\n<div><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61246\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-06.jpg\" alt=\"Wide shot of Shoreditch Recording Works main room\" width=\"1600\" height=\"900\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-06.jpg 1600w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-06-300x169.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-06-1024x576.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-06-768x432.jpg 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-06-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\" \/><\/div>\n<div class=\"article-wrapper\">\n<h2>&nbsp;<\/h2>\n<h2>RME in the Heart of the Studio<\/h2>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61127\" style=\"float: right; width: 45%;\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2024\/06\/RME_M-1620-Pro-perspective.jpg\" alt=\"RME M-1620 Pro\" width=\"1200\" height=\"251\"><\/p>\n<p>Dominik\u2019s studio leverages an extensive RME setup:<\/p>\n<ul>\n<li><a title=\"RME Sound Cards | Synthax Audio UK\" href=\"https:\/\/www.synthax.co.uk\/rme\/sound-cards\/\">RME HDSPe MADI FX Card<\/a> in the machine room<\/li>\n<li><a title=\"RME M-1620 Pro | Synthax Audio UK\" href=\"https:\/\/www.synthax.co.uk\/rme\/converters\/rme-m-1620-pro-d\/\">RME M-1620 Pro-D<\/a> for interfacing with outboard gear (via MADI, but also with the option of Dante)<\/li>\n<li><a title=\"RME M-1610 Pro | Synthax Audio UK\" href=\"https:\/\/www.synthax.co.uk\/rme\/converters\/rme-m-1610-pro\/\">RME 1610 Pro<\/a> for 16 DAV Broadhurst Gardens mic preamps wired directly in<\/li>\n<li><a title=\"RME Fireface UFX II | Synthax Audio UK\" href=\"https:\/\/www.synthax.co.uk\/rme\/firewire-usb\/rme-fireface-ufx-ii\/\">RME Fireface UFX II<\/a> kept in class compliant mode for plug-and-play sessions with visiting producers or artists<\/li>\n<li><a title=\"RME Fireface UFX III | Synthax Audio UK\" href=\"https:\/\/www.synthax.co.uk\/rme\/firewire-usb\/rme-fireface-ufx-iii\/\">RME Fireface UFX+<\/a> in the programming room<\/li>\n<\/ul>\n<p>All of which is interconnected over MADI, with TotalMix FX managing up to 192 I\/O streams, extensive submixing and remote control.<\/p>\n<p>\u201cThere are a few possibilities,\u201d Dominik says of his choice of running a console-less studio. \u201cYes, an analogue desk is one. Or you could have a digital desk. You can run another Pro Tools HDX system on another computer. Or you can use a software mixer like RME\u2019s, which is latency-free and runs on the hardware of your interface, which is the route we decided on.<\/p>\n<p>\u201cWhen you compare the different DSP-based mixers available from other companies, you find that TotalMix is by far the most flexible.<\/p>\n<p>&nbsp;<\/p>\n<h3 style=\"text-align: center;\">\u201cTotalMix is by far the most flexible\u201d<\/h3>\n<p>&nbsp;<\/p>\n<p>\u201cSo that\u2019s become the centrepiece here really, with an RME MADI FX card that sits on a PC in the machine room. It has 192 inputs and outputs, and so everything is basically connected to those and can be controlled by TotalMix, which runs all the sub mixes for the artists, and all the outputs to the metering. What then comes out of that goes into the converters of which we have a few different ones. Some RME like the M-1620 Pro, as well as some from Merging Technologies, and a room optimisation system called Trinnov.\u201d<\/p>\n<p>\u201cThen we&#8217;ve got an RME Fireface UFX II in here, which is really here for other third party clients to plug into via USB, and then goes digitally into our ecosystem here. You can put the UFX into class compliant mode to speed things up &#8211; we just did that with an artist the other week. That worked really well, they don&#8217;t have to install anything &#8211; just plug in via USB and they\u2019re away.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61248\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-M1620-Pro.jpg\" alt=\"Closeup of the RME M-1620 Pro-D converter in a studio rack\" width=\"2560\" height=\"1397\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-M1620-Pro.jpg 2560w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-M1620-Pro-300x164.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-M1620-Pro-1024x559.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-M1620-Pro-768x419.jpg 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-M1620-Pro-1536x838.jpg 1536w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-Dominik-Scherrer-RME-M1620-Pro-2048x1118.jpg 2048w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<p>&nbsp;<\/p>\n<h2>Why the RME M-1620 Pro?<\/h2>\n<p>Alongside the RME sound card and two audio interfaces, Shoreditch Recording Works also features a couple of different dedicated AD\/DA converters from RME &#8211; including the new M-1620 Pro-D.<\/p>\n<p>\u201cWe started adding these external converters at some point,\u201d Dominik says on the question of choosing a converter. \u201cI&#8217;ve got the 1610 that I was using in the old studio. Because at the time we thought \u2018all right, let&#8217;s get the highest spec we can get, for our string quartet recordings for example.\u2019<\/p>\n<p>\u201cSo that was working well, and then at some point the 1620 Pro was announced, and I thought that&#8217;s really good because I can connect it via MADI, but also it can convert from MADI to Dante.&#8221;<\/p>\n<p>While MADI remains the studio\u2019s backbone due to its ultra-low latency, the 1620 Pro acts as a futureproof gateway if the studio decides to add more AoIP devices.<\/p>\n<p>&#8220;We\u2019re not using any Dante equipment in here yet, but I\u2019m sure we will eventually. So we already have this gateway. The remote control software is also very clear, it\u2019s not annoying to use, which is more than I can say for others. So yes, the 1620 is working really well.&#8221;<\/p>\n<\/div>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61250\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-live-room.jpg\" alt=\"The smaller live room at Shoreditch Recording Works\" width=\"2560\" height=\"1397\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-live-room.jpg 2560w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-live-room-300x164.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-live-room-1024x559.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-live-room-768x419.jpg 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-live-room-1536x838.jpg 1536w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Shoreditch-Recording-Works-live-room-2048x1118.jpg 2048w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<p>&nbsp;<\/p>\n<div class=\"article-wrapper\">\n<h2>Advice to Young Composers<\/h2>\n<p>Dominik\u2019s advice for aspiring film composers is simple: &#8220;Focus on something that you find interesting and do it well, rather than being a jack-of-all-trades.<\/p>\n<p>\u201cI see a lot of show reels from aspiring composers, and often it will include a classical track, an action track, an electronic track etc. It&#8217;s like the whole spectrum is covered. They\u2019ll have this huge range, but I\u2019m thinking, \u2018what do you really want to do?\u2019<\/p>\n<p>\u201cWhen I started, I didn&#8217;t even really know anything about film scoring. I was just excited about putting music to film. I made my own films, just going into the woods with a camera, just to put my own music to it.\u201d<\/p>\n<p>\u201cSo I think my advice to an aspiring composer, would be to concentrate on what excites them personally, rather than second guessing what other people might want. And of course to just keep trying, keep working, keep learning. Find any short film that you can provide a score for, even if it&#8217;s something short or simple. The more you do, the more you understand where the excitement lies.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Our thanks to Dominik Scherrer. The Assassin is <a title=\"Watch Season 1 | The Assassin | Prime Video\" href=\"https:\/\/www.amazon.co.uk\/Season-1\/dp\/B0F9VXD4LL\" target=\"_blank\" rel=\"noopener\">out now on Amazon Prime<\/a>.<\/p>\n<p>For more information on Shoreditch Recording Works visit the <a title=\"Shoreditch Recording Works, England | Miloco\" href=\"https:\/\/milocostudios.com\/studios\/shoreditch-recording-works\/\" target=\"_blank\" rel=\"noopener\">Miloco Studios website<\/a>.<\/p>\n<p><a title=\"RME Audio | Synthax Audio UK\" href=\"https:\/\/www.synthax.co.uk\/rme\/\">See the full range of RME pro audio devices<\/a><\/p>\n<\/div>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-61253\" src=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Studio-Recording-Works.jpg\" alt=\"TV Composer Dominik Scherrer in his Studio Recording Works studio\" width=\"1800\" height=\"1200\" srcset=\"https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Studio-Recording-Works.jpg 1800w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Studio-Recording-Works-300x200.jpg 300w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Studio-Recording-Works-1024x683.jpg 1024w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Studio-Recording-Works-768x512.jpg 768w, https:\/\/www.synthax.co.uk\/latest\/wp-content\/uploads\/2025\/08\/Dominik-Scherrer-Composer-Studio-Recording-Works-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\" \/><\/p>\n<div class=\"article-wrapper\"><hr><footer>\n<div style=\"margin-top: 5px;\"><img decoding=\"async\" loading=\"lazy\" class=\"logo-img\" style=\"float: left; 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\n    }\n    \n    \/*\n    .article-wrapper h3, .article-wrapper h2 {\n      letter-spacing: 0.01em !important;\n    }\n    *\/\n    \n    .footer-text {\n      font-weight: 400;\n    }\n    \n    }\n    \n    <\/style>\n","protected":false},"excerpt":{"rendered":"<p>Film &amp; TV Composer Dominik Scherrer takes us inside his new recording studio Award-winning TV composer Dominik Scherrer recently opened Shoreditch Recording Works, a purpose-built studio nestled in East London\u2019s creative hub. Designed to meet the high demands of modern film and TV scoring, the studio balances flexibility, pristine acoustics and future-proof technology \u2013 with&hellip;<\/p>\n","protected":false},"author":3,"featured_media":61323,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false},"categories":[4,494],"tags":[673,2504,2507,900,2511,2506,919,2505,2510,2502,2503,2501,905,278,2500,2512,1474,2509,2508,53],"_links":{"self":[{"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/posts\/61214"}],"collection":[{"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/comments?post=61214"}],"version-history":[{"count":64,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/posts\/61214\/revisions"}],"predecessor-version":[{"id":61357,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/posts\/61214\/revisions\/61357"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/media\/61323"}],"wp:attachment":[{"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/media?parent=61214"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/categories?post=61214"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.synthax.co.uk\/latest\/wp-json\/wp\/v2\/tags?post=61214"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}