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The studio is closed however I am holding on to such gear as I might use at home or could bring to the augment of a recording session in a rented facility. For a list of gear listed below. There is also a list of Equipment for sale
ProductionTHE ROLE OF THE PRODUCER: Producer (pro-doo! cer) n. 'Someone who sits in a studio control room and periodically freaks out. Never eats, sleeps, or goes to the bath room. Occasionally will eat your pizza.' But seriously, at most sessions there is one person who has the final word about musical things. A producer decides things like the tempo of the song, which take of a particular performance is the "keeper", what the general sound of each instrument should be, how are all the instruments best combined during mixing, and with what kind of effects. It is his job to oversee the recording project as a whole including the setting of budgets and devising a plan-of-attack to produce the recording within the time and financial constraints.Hiring a producer can greatly enhance the quality of your project because he/she functions as an objective, fresh set of ears. The producer's job is to constantly evaluate the recorded performances with respect to how they fit together to create the best, most creative, end product. He is supposed to work with "big picture" in mind at all times, taking the information given to him by the performers as to what their overall intentions are with their music, and using that knowledge to create the final master tape.
Editing and MasteringAfter mixing you will need to put all the songs in the correct order and decide how much space should go in between them. This is called "pacing" the album and is part of the process known as Mastering. Sometimes songs will need an internal edit in order to reach a particular target length or shorten an intro. You can even combine portions of different mixes and takes to create a composite master performance. You can also change the relative loudness of the songs individually, or tweak the tonal balance (EQ) so each cut flows smoothly into the next. Below is a post excerpt by Jay Frigoletto of Atlanta Digital that is the best summary on the true value of mastering that I have come across. Mastering is more than a fresh set of impartial ears, although this is certainly one advantage. It's the experience of the ears in mastering which is different from mixing. The best mix engineers still get all of their work mastered. It's a different discipline, however related. It's the training of the ears, knowing what to look for, knowing how far to go, knowing how it will translate, knowing the monitors, the experience with so many records that have come through, with what works and what doesn't. It's the training, the knowledge that has been passed on by somebody more experienced, learning the aesthetic and technical details that aren't obvious or seem counter-intuitive to the lay person. It's the gear. Its the well designed and implemented monitoring environment, the high definition full range monitors, the knowledge of when and how to dither, what type, what gain, noise shaping or not, which curve. It's having the highest quality processing gear and the cleanest signal path. It's having digital gear that processes at a high enough resolution for the resolution of your project, and gear that doesn't truncate, and offers you dithering options when you need them, and has tried and tested quality algorithms and proper DSP practice. It's quality A/D and D/A and properly maintained and calibrated tape machines. It's having the proper gear to make masters that glass can be cut directly from. It's knowing what glass mastering is in the first place, and why that's not done at the "mastering" houses we are talking about, It's knowing the difference between mastering and pre-mastering. It's knowing when to use analog or digital, how to get to and from digital with the least degradation. It's not getting carried away, it's restraint, but it's not necessarily timid. It's attention to detail, cleaning heads and tails, adjusting fades when necessary, making the album even from track to track, not thinking normalization will do this for you, understanding emphasis, not losing bits of data that are important or passing bits of data that are incorrect, knowing what to do about DC, phase relationships, balance, clicks, pops, dropouts, and how to prepare a proper log for the replication plant. It's all of this and more. It is NOT putting an EQ and a limiter on the mix bus so your CD is loud and bright. If you don't understand the difference yet, keep working in the business and eventually you will learn. And if you don't learn, you are sadly missing out on one of the most valuable assets in the completion of your project that you have put your heart and hard work into. GearThe studio is equipped with: Microphones:
Mixers:
Computer:Recorders:
ADA Converters & Preamps:
Monitoring:
Recording and mastering software:
Amps and Instruments:
Equipment for sale:
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