Do you have accurate monitoring in the control room? All right. We’ve measured the room and I’ve treated it and listened to it over and over again, moved the subs around, treated first reflections, we have awesome diffusion in the back of the room, bass trapping where it’s appropriate, and the listening position is pretty large. The space where the engineer sits and the artist would sit is accurate. I take my mixes out of the room and they translate. Yeah, I would say so. I like our monitoring very much. We have NS-10s, which give you a goo picture of what’s happening in the mid range, we have ADAM monitors, we have general like 80-50s, and sometimes we get other things in just to play around with, but we have a lot of choices and the room is accurate. I feel pretty confident that what you do here will translate outside.
What are some of the services that you offer? We have a bunch of really talented staff that can record, mix music incredibly well. We have people who can compose and help you write. We have staff that are also really great teachers, so if you’d like to learn how to record, and how to mix, one on one with somebody, we’re able to do that. We also do voiceover work and some jingle work as well. We have grads from Berkeley, who are just like phenomenal programmers and songwriters, that have done commercial stuff all over the place. Let’s see, we’ve done some Foley work, sound creation, over-dubbing. I guess I said over-dubbing? Voiceover. Yeah, voiceover, over-dubbing. Generally, I like recording music, and I think most of the engineers here are into music with instruments. I would say that’s our specialty.
When looking for a recording studio, I have seen prospective clients discern between studios on equipment lists alone. I am asked what DAW (digital audio workstation) we use, what type of outboard equipment we have available (microphone preamps, compressors, equalizers), which microphones we have to choose from, and for a plugin processor list. These are all important and valid questions. Aside from the actual talent and ability of the recording engineer, the tools that we use to get great sound are critical. Fortunately our recording studio has equipment and software in spades. Our parent company is an online retailer for studio equipment, and gets great manufacturer demo model deals that are not available to other studios. We can afford to have great equipment, even if we do not book our room. This is a HUGE benefit of using our studio. Big budget studio equipment at project/home studio pricing. However, this is not our most valuable attribute! Our room is acoustically sound, treated for accuracy, and yields a clear representation of what your music will sound like elsewhere! Being able to offer an accurate soundscape in the control room is paramount. How is it possible to make mix decisions that translate to all listening systems? The answer is having an accurate listening environment that is treated properly! What is proper treatment, and how is it achieved? The answer quite simply is the use of the scientific method to achieve accuracy. We measure, the acoustic response of the listening position with measurement […]
What made the mix process easy when you were here? The mixing process here was great because our mixing engineer Paul Garcia, he wasn’t limited to what plugins he could use, I would say that was one major benefit because Little Fish Audio has every plugin you can think of fully authorized, he could just pull up whatever UA compressor you want to throw on there or EQ and not only that he could pick whichever one he wanted, but he could put as many as he wanted. Some sessions we had like 90, 100 UA plugins running all at the same time and that’s because we have the quad and the Apollo and then we have the OCTO card down below. Aside from that, the room, the control room is very well treated and the listening position has the clouds over it and the bass traps in the corners. It just gives you a very true perspective of your mix. Aside from that, the monitoring was very helpful. The atoms, the S2X’s were what Paul used most to simulate that wall sound and to give him what his mix was going to sound like. Then when we wanted to hear what the bass was going to sound like in the car, in another kind of stereo, we would switch to the general x which were not paired with the sub, but give you a more well rounded mix, including the bass, so we’re able to hear that. If we […]