Finn de Kroon — Kii room

The room

Finn’s editing studio is a compact, carefully finished room built specifically for video work rather than pure music listening. Every corner carries bass traps to tame the low-frequency buildup a square room naturally produces, while the ceiling above the listening position holds a cloud of absorption and diffusion to stop reflections bouncing straight back down. Left and right walls carry absorption panels for the first and second reflection points, and the rear wall is deliberately diffusive rather than absorptive — because the speakers also radiate backward, diffusion scatters that energy instead of letting it bounce off the wall and door back into the room. The result: at the listening position, Finn hears only the direct sound of the speakers, with nothing colouring his judgement.

Two screens define the workflow: a Samsung ultrawide for the GUI and timeline, and an LG OLED reference display behind it for judging true colour and detail in the final output.

The system

Reference screen

LG OLED G-series

The G-series is the best OLED panel LG makes — a large, 4K reference where Finn checks the true colour and fine detail of his final output, rather than trying to judge it on the smaller GUI screen.

GUI / workscreen

Samsung Odyssey OLED G8

A wide, slightly curved monitor for editing — enough width to see a full timeline without hunting for where he is, freeing the OLED behind it to stay dedicated to the final result. Colour accuracy doesn’t matter here; it’s pure workspace comfort.

Speakers

Kii Seven

Tech Talk

Compact, active monitors that reveal every detail — background noise in an interview, the texture of a voice — with more bass extension than their size suggests. They replaced a pair of Genelecs and, unlike that setup, need no separate subwoofer.

Power

Oehlbach Powerstation 909

Handles filtering and cable management for the studio.

Workstation

Mac Studio

Silent, runs cool, and pairs seamlessly with DaVinci Resolve — Finn switched from Windows and hasn’t looked back. Not an audio component, but part of what makes the studio work.

Colour grading

Blackmagic Design colour panel

For the final colour pass on every project — dialing in white balance and fine detail by hand is far more precise than working the same sliders with a mouse.

Personal listening

Personal listening

Sony WH-1000XM5

Finn’s own choice for music away from the studio — an on-the-go wireless headphone he rates as surprisingly good for the price, reserved for personal listening rather than editing work.

Room spider

• Tonal character — 3. Leans slightly toward the cool, revealing side rather than warm — because catching every background detail in an interview matters more than added warmth.
• Dynamics — 4. Strong headroom for a compact monitor, mostly heard from the WAV files Finn edits with day to day.
• Imaging focus — 2.5. A deliberate middle ground — precise enough to place a detail, blended enough that everything still comes together naturally while editing.
• Attack — 4. Fast and taut rather than soft and rounded — Finn compares it to hearing the tension in a cello string, not just its bounce.

Editor & Videographer Finn de Kroon