Ian Hultquist Discovers Trinnov and PSI

5 December 2025

Paul Mortimer interviews composer and musician Ian Hultquist regarding his professional quality of life improvements, courtesy of Trinnov and PSI.

Best known for his original soundtrack work on The Walking Dead: Dead City, composer Ian Hultquist had spent years wrestling with the acoustics of his studio. Nothing quite felt right; the low end inconsistency, unclear imaging, and a general uncertainty about what he was truly hearing. A mutual contact recommended he speak with Paul Mortimer about Trinnov, and despite a long-held scepticism of room-correction technology, that conversation would set off a chain of discoveries that reshaped his studio life entirely.

What started with the Trinnov Nova and a pair of PSI Audio C214 Active Velocity Acoustic Absorbers (AVAAs) soon led Ian to overhaul his entire 5.1 monitoring system with PSI Audio loudspeakers, including A25-Ms at the front which ultimately replaced his previous PMC setup.

Trinnov Nova — The Turning Point

Ian freely admits he was “dragged through the mud a little bit at first” when it came to the idea of room-correction DSP. Earlier experiences with competing brands had left him convinced that DSP solutions simply couldn’t deliver on their promises. For years, he stood firm: digital room correction wasn’t worth the investment.

But when several trusted colleagues urged him to try the Trinnov Nova, he decided to keep an open mind.

He emphasises that no DSP can magically transform a poorly treated space into a world-class studio. What the Nova can do, and what sets it apart, is its ability to elevate a good room into a truly exceptional one. Once Paul calibrated the studio using Trinnov’s 3D measurement microphone, Ian recalls being “almost in tears.”
For the first time, his speakers sounded exactly as he always imagined they should: tight, articulate low end and imaging that suddenly snapped into vivid focus. “It was like magic,” he says.

A common misconception is that DSP optimisation creates a single “perfect” listening spot at the expense of the rest of the room. Ian experienced the opposite. Before installing the Nova and AVAAs, moving even slightly caused dramatic tonal shifts. After installation, not only was the sweet spot pristine, but the entire room became more consistent—an unexpected and welcome surprise.

PSI Audio AVAA C214

The AVAAs were another revelation. Initially unfamiliar with the concept of an active bass trap, Ian jokingly described the PSI Audio C214 AVAAs as “weird magical black tubes.” Driven by curiosity, three units were placed in his room—two up front and one at the rear. The rear AVAA in particular had an immediate, transformative effect:
low-end muddiness cleared, vocals lifted, and previously buried details suddenly came alive.

He quickly realised that years of unmanaged low frequencies had been masking critical information. Paired with the Nova, the AVAAs reshaped the room’s behaviour “with the flick of a switch.” Ian calls them a “magic combo,” echoing the sentiment shared by many engineers who try them for the first time.

For those unfamiliar, AVAAs provide the low-frequency absorption of passive traps up to 45 times their physical size, yet remain compact and fully portable—ideal for composers, mixers and content creators who regularly change rooms. Backed by PSI Audio’s five-year warranty, they serve as a reliable, long-term investment.

PSI Audio Studio Monitors

Impressed by the AVAAs, Ian began exploring PSI Audio’s monitoring range. With years of experience across major loudspeaker brands, he had a clear sense of what he wanted—and what he wasn’t getting from his previous monitors. His PMC system, though excellent in many environments, simply didn’t gel with his room. Vocal clarity, in particular, required constant reference to smaller mix cubes.

Hearing the PSI Audio A25-M monitors and A225-M subwoofer for the first time was a shock. The sound was natural, unhyped, and strikingly three-dimensional. He recalls hearing acoustic drums and vocals with a realism that allowed him to “hear around the performer’s head”, a level of detail he wasn’t expecting.

That sense of musicality proved addictive.
“That’s how that’s supposed to sound,” he said.
“That’s how this record sounded when I first heard it when I was 14.”

Encouraged by the consistency and clarity, Ian upgraded his full 5.1 system:

• A25-M (front L/R)
• A214-M (centre)
• A21-M (rear L/R)
• A225-M (Front L/R subwoofers)

With the system installed, he describes an enveloping immersion—“an effortless sound… one cohesive system working together.”

Unlike other brands where strengths often lean toward specific genres, PSI Audio monitors handled every style he threw at them, from orchestral to electronic, always delivering an emotionally true representation.

Conclusion

For Ian, investing in the Trinnov Nova, PSI Audio AVAA C214s, and PSI Audio monitors was nothing short of transformational. The guesswork that once slowed his process and forced endless cross-checking across multiple speaker sets has disappeared.
Mix revisions have become fewer and now revolve around arrangement choices, not mix clarity.

Perhaps most importantly, he trusts what he hears.

When mixing other artists’ work, he can instantly identify intention and problems with confidence. The consistency, accuracy and musicality of PSI Audio, combined with the control and precision of Trinnov, have created a studio environment that finally feels like home.