THE REAL DEAL The real deal means that we do take the time to master your material entirely in the analogue domain. This approach provides your project with the sonic characteristics of analogue (valve and solid state) electronics. 1. The digital signal from your titles is fed into analogue electronics, via our high-end 24-bit Prism digital-to-analogue converters, ensuring no transparency loss (veiling or fogginess) from the conversion process. 2. The mastering process is carried out using analogue processors: Crane Song STC-8 (solid state limiters), Fairchild 670 (1959 stereo valve limiters) and Penny and Giles (1968 solid state equaliser). 3. The analogue mastered signal is retrieved from analogue electronics, via our high-end 24-bit Prism analogue-to-digital converters, in order to be cut in real time onto our stand-alone Sony digital recorders. 4. We provide you with a provisional analogue master of the titles of your project that you can download and test, in your own time, on your own equipment. Our analogue mastering is performed in a dedicated studio with quiet, calibrated acoustics and a single set of wide range monitors (Earthworks Sigma 6.2). Our analogue signal paths are kept short and to a minimum and quality cables are used throughout the studio. Our analogue processors have calibrated positions and are well maintained to provide quiet operations, low distortion, low noise and are used in matched pairs to keep the stereo image from deteriorating. Our monitors do not have the acoustic interference of large recording consoles, racks or outboard gear. The acoustics are optimised and all other considerations are secondary to the acoustics. analogue mastering - what is in it for you ?
ANALOGUE MASTERING Mastering, the final step before a project is released, is the process of “sweetening” the overall sound of a project by enhancing its clarity and improving its emotional impact. Compare mastering to the book editor’s job of taking a raw manuscript and turning it into a book. The book editor must understand syntax, grammar, writing style, binding techniques, colour separation and the printing process. Likewise, the mastering engineer marries the art of music with the science of sound. Mastering is also the process of turning a set of titles into a cohesive sounding product optimised for a particular broadcasting medium (compact disc, digital versatile disc, film, internet, multimedia, radio, television, theatre, video). Our mastering engineer, Daniel Fournier, is an obsessive quality control expert (see his curriculum vitae). Sensitive to the needs of the producer and the artists, Daniel treats each project with individual attention and understands what will happen to the project when it hits the radio, the car or the home stereo system. Daniel reads music, has an excellent sense of pitch and timing and understands many musical styles. He knows how to operate sophisticated analogue and digital signal processing equipment, much of which is not found in recording studios. Being the last ear on your project, Daniel can be an artistic and technical sounding board for your ideas. He will listen closely to every aspect of your project and, if you are looking for them, he may provide suggestions about the order of your titles, how they should be spaced and whether there is anything else that could be done to make them stand out. Daniel can also bring his unique perspective to a project and produce that final polish which distinguishes an ordinary recording from a work of art.curriculum.htmlshapeimage_4_link_0
DETAILS Adjusting the level of each title in relation to all other titles within the project. Assessing and minimising the number of uncorrectable E32 errors and the block error rate. Enhancing instruments which, in retrospect, did not seem to come out properly. Controlling the dynamics of each title and within each title. Correcting the direct current offset and the left to right balance offset in each title. Creating an appropriate spacing or a cross fade between the titles. Ensuring the mono compatibility of each title. Equalising the audio spectrum of each title and/or within each title. Fine tuning the fade ins and outs of each title. Harmonising the titles so that the project sounds unified. Optimising the project for the main boadcasting medium you are targeting. Reducing clicks, crackles, hum, hiss or other unwanted noises that may be present in each title. Reducing any excessive sibilance in each title and/or within each title. Reducing or widening the stereo image of each title and/ot within each title. We are normally able to eradicate or substantially minimise most flaws, except for distortion and saturation, since these are embedded in the signal itself.