Hello all :-)
At BLS, my aim is to bring the highest quality of equipment and technique in music production to clients in the local area, allowing them to reach professional standards with their songs at
very reasonable rates. If you intend your demo or promo songs to stand up alongside other tracks (especially commercial material) it is
well worth ensuring that you’re getting the best quality recording from the start.
Drums and vocals are particularly sensitive to recording techniques and will usually give away a track as being ’budget’, although ALL parts definitely benefit from *good* recording, and subsequently make the mixing process much more effective.During a typical recording project there are several key stages and I’ve put together a brief description of each of these in order to explain them to bands, vocalists etc. that may be thinking of embarking upon a project...
Please note that I can also edit & mix your pre-existing multi-tracks and provide mastering for your stereo mixes (if, for example, they were originally recorded at home or elsewhere) - please drop me a message for further details.RecordingAlso referred to as "tracking", this is where the constituent parts (instruments/vocals) of your music are initially recorded onto individual tracks (multi-tracking). In the studio, all recording is made to a dedicated custom Digital Audio Workstation (DAW) so track count is virtually unlimited. Location recording (inc. drum kit & ensemble tracking at the ’live’ room) is made to an Alesis HD24XR 24-track digital recorder, with the tracks subsequently brought back to the studio where overdubs can be made before editing/mixing etc. Analogue to digital conversion (important for maintaining sound quality during recording) is with premium quality SSL and Alesis XR converters.
BLS prides itself upon having a comprehensive range of the highest quality microphones and preamps in the local area (including the hand-built US Peluso 2247LE valve mic, Soundelux, AKG, Shure & Audix D-series drum mics and Avedis, Brent Averill, Universal Audio and DAV Electronics preamps).
EditingOnce the tracks for a project have been recorded, they will often require some form of editing work to prepare them for the mix. This can include simple tasks such as editing out unwanted noise and selecting/piecing together the best takes from the source material, or more detailed work such as editing out or replacing performance errors within the tracks. Some of the more advanced editing options include:
- Auto-tuning/pitch & timing correction of vocal or solo instrument parts;
- Guitar re-amping, where DI’ed guitar (or bass) parts from the recording can be routed through the studio amp and flexibly re-recorded to obtain a superior tone;
- Drum sample replacement, where existing drum tracks can be reinforced or replaced by an archive of premium quality drum samples (BFD Andy Johns’ Classic Drums)
MixingWhen the multi-tracks are suitably edited and prepped, they can then be mixed to create a final stereo mixdown of the song. At this stage, the balance of parts is carefully set and any processing/effecting of individual parts is carried out. BLS uses a hybrid mixing environment so that tracks can be closely controlled in the digital domain before being summed via an analogue signal path (widely acknowledged as bringing a superior result to digital mixes).
Automation (the recallable changes in channel levels, panning, effects settings etc.) is a key part in putting together a detailed and dynamic mix, and all mix parameters are fully controllable from the studio DAW.
I use a range of premium digital effects, including the full Universal Audio UAD-1 collection of plug-ins (4x cards in a dedicated rack server) and pristine VSS3 reverbs from the TC Electronic Powercore (directly ported from the legendary System 6000 top studio reverb unit).
On the analogue side, dynamics such as the Drawmer 1968 Mercenary Edition stereo buss compressor and the characterful UA1176 are employed, with stem summing through the Roll Music Folcrom and clean, ’Neve’ or ’API’ flavoured final gain from the selection of preamps.
Mixes are always referenced after the initial session, so that the finished stereo piece benefits from some objectivity and a fresh pair of ears (one of the most detrimental things to do to a mix is to immediately launch into it after a load of recording and try to wrap it up in a couple of hours!).
MasteringMastering is the process whereby completed mixes are given their final treatment before being sample-rate converted/dithered and finalised to CD. Basic mastering edits include trimming unwanted audio/silence or creating suitable fade-in/outs to the start and end of tracks. For multiple song projects, the CD track order will also be programmed.
A mixdown will more than likely lack the perceived ’loudness’ level of commercial CD tracks and whilst this is not necessarily a bad thing, the mix will usually benefit from some degree of compression, EQ and limiting.
Although a key component in mixing, accurate monitoring and acoustic treatment is particularly important in the mastering process. I use high quality PMC TB2S-A active monitors and AKG K701 headphones, with a Blue Sky Media Desk 2.1 secondary system. Room acoustic treatment is by Auralex and Ready Acoustics.
Mastering of audio files is carried out using the latest WaveLab 6 professional editing software.
Final authoring to CD is done using premium Plextor CD burners and Taiyo Yuden blank media (both renowned throughout the industry for their superior reliability). All master discs are error checked (using Plextools C1,C2 & CU checking), which is an important safeguard if you intend to use the master as a source for CD duplication.
Current rates for recording and post recording work (editing, mixing & mastering) are listed on the website here:
BLS Website > RatesAll post-recording work is done in client unattended sessions. This allows for objectivity and enables me to work flexibly with regard to referencing & revising mixes in the process. If there are specific requirements for a mix, I invite clients to prepare a mixing brief and listening sessions can always be arranged if so desired.