what is soundcurrent?
Well, it's a bit like electrical current, but made of sound, whether analog or digital. It comes from a very old word which implies that sound flows, from and to your heart and mind endlessly, and has an immediate connection. Certainly no matter what type of music they make, all musicians want to connect to their audience.
what is mastering?
It is simply the final stage, and last opportunity, to polish and refine your recording before duplication. The better the sound, the better your connection. It is also the opportunity to be ferocious, or not. Read on for information about the process of mastering...
ferocity is an option
more about mastering
Originally, mastering included the process when the record was being cut by the lathe for replication into vinyl. Certainly, this skill still exists (and demanded by many audiophiles), although the nearly complete majority of recordings are on CD or the internet.
Most "mastering" is really pre-mastering, adjusting the sound for best possible quality and balance. Making the glass master is the final mastering, which should not change the sound at all. Through the development of sophisticated digital editors and automation, fine-tuning of each song can be done which was difficult or impossible just a few years ago.
At the most elemental step, each song's level, or relative volume, is adjusted so that they match from song to song. Then, EQ, or spectral balance, is also adjusted, both overall and for each cut. Many times each song has a dynamic range that may need to be enhanced by making it larger or smaller (more dynamic if it was overcompressed previously, less dynamic if suited for the music). In addition, control of dynamic behavior within a frequency range (such as de-essing) can be used.
There are many things that can be done to a record. Most don't need to be done very often, so the real issue is to do only what's needed. We can do things you didn't think we could, and can't do things you wish we could, but don't let this stop you from asking!
Many of the processes can be done in the digital or analog domain. Deciding which is best --and when-- is part of the craft of mastering. The key is for our mastering to do only what is needed, then get out of the way of the music. But don't worry, if you want something specific, just ask. For example, if you want it huge and loud, it shall be done. We'll hopefully guide you to understand what the trade-offs are for a loud record. Personally, we prefer stuff which is big and punchy, which means you simply turn up the volume some. However, some forms of music just simply need to be competitively loud.
The most important tools are the ears of the mastering engineer; second-most important are the monitors and the room itself. The processors themselves are essential, but the knowledge to use them wisely and with a light touch is vital. If you have any questions about the process, please email.
who our clients include
Jim Lauderdale. Corrosion of Conformity (2 cd's, 1 surround DVD). Rabbi Shergill. Belleville Outfit. 10 Years. Dolly Parton (2 cd's, 1 surround DVD). Cain & Annabelle. Clint Alphin. Stephanie's ID. Cort Armstrong. Zim Ngqwana. Sergio Compean. Sirius.B. Acoustic Syndicate. Teenage Love 13. Steve Miller. Laura Reed & Deep Pocket. RB Morris. American Plague. Place of Skulls. Mr Mack. Bob Moog Foundation (The Recording Academy). David Lewiston Archive (Smithsonian/Recording Academy). Electronic Music Foundation. John Eaton. Wah! Devi. Mad Tea Party. Aaron Price. here's more.
what and how much
Please see our policies and formats page for what formats are accepted and about booking a session. For pricing, here's a PDF.
In general, it's 50 euros per song (around $70), but you might have 17 songs, or only 2, so we honor the fact that nearly everything is negotiable. Read the PDF file for pricing info. There is a rate per-song, per-hour, and per-day, and whichever is lowest is the price. In this way there is a cap on the price of projects so you know what you'll pay at maximum before we start, not after it's done.
Now here's a neater link list:
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When you book a session, you must file a Project worksheet
You should be familiar with our Policies and formats
Terms and conditions
Here is the price guideline
If you need to Contact us
In the interest of encouraging standards:
Here are links to The Recording Academy's very helpful files. I really encourage you to use these documents.
Here is the media label for CDs or DVDs being provided as masters, although it works great as a tape box label too.
My favorite pack of papers to document sessions: Session doc, what a perfect name.
Here is the short guideline to pro tools session procedures.
Here is the full guideline to pro tools session procedures.
The Pleasurize Music Foundation has been established to help educate audio engineers, musicians, and listeners about the increasingly "louder records" which dominate the market. The truth is, no one buys a record because it is loud, no one listens to several CDs at a store and buys the loudest one they find. They buy the song they want, the band they want, the experience they desire. If you wish to learn more about this, visit the PleasurizeMusic web page.
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coffee is a requirement