We are certain that, in order to do a good mastering job, the best of the analogue world and superlative quality digital tools should be combined.
Our Lipisnki monitoring is one of the most accurate of the world and, in conjunction with the sub low, they give an astonishing flat and detailed response in the whole rank of frequency. The level of detail is amazing. The discs properly recorded sound very good, but the defective mixes are revealed in a very clear way. That is why it is so much easier to make decisions of processing and correction with them. With this system connected to the Avocet II Monitoring matrix is possible to appreciate even the most subtle differences during the mastering process.
As we understand that one of the most fundamental achievements of a good mastering is the compatibility of the material with the widest range of players in the market, such us TVs, radio alarms, computers, MP3 players, car radios, etc., it is important to do master judgements, partially based on the hearing of reference monitors that will no generate tonal anomalies caused by crossovers or complete rank inferiors controllers. Critical areas of media vocal range / guitars / keyboards will be specially attended to.
In this situation is where having an extended rank monitor without crossover is truly reveling. That is why we count on Avantone Mix Cube complete range active monitors to make sure that at any level – the most exquisite one of listening or the lowest – our mastering will always work.
In this situation is where having an extended rank monitor without crossover is truly reveling. That is why we count on Avantone Mix Cube complete range active
monitors to make sure that at any level – the most exquisite one of listening or the lowest – our mastering will always work.. Our first option for this process is Crane Song Hedd-192
convertor that allow us, besides an ultra-transparent conversion up until de 192k of sampling, the possibility of adding in a controlled way emulation of distortion of Tape, pentode or triode,
that allows to give back size and warmth to projects fully worked within the digital domain (as well as recording or mixture)
As we consider that the conversion for monitoring and comparison is a critical point, because it can deceive us over the decisions to make, we use the ultra-low jitter convertors of our Avocet II matrix, so that we can be sure of the processes to apply. All of that, controlled by our Antelope Ocxhd Clock (HD Master Clock) with a work capacity up until 705,600khz
Equalizers Outboard analogico
Consoles & Metering
Although the digital processing quality has significantly improved, analogue processing is still a fundamental element in high-end mastering.
We really believe that the dynamic processing and true nature equalization works in a superior level, in most cases, within this environment. And that is why we have a wide range of colors in analogue dynamic processors and equalizers, making it possible to go from almost transparent conditions to recreating vintage sounds with a lot of personality.
When it comes to making “surgical” corrections to the audio program, or to modify the sound stage in an efficient and transparent way, the new 48 bits processing digital tools and double frequency sampling are essential.
But not any digital processor can guarantee a good result. That is why we have the best digital tools form: Wess, TC Electronic and Universal Audio; specially the versions in collaboration with George Massenburg, Bob Katz and Brainworks, in addition to the last version of Izotope Ozone Advance /RX.
None of them would let us do a stand-alone mastering, but they are magnificent complements to our analogue palette.
Most of our masters are compiled and edited in our Avid ProTools 11 and Sound Blade HD systems but, to offer our clients more compatibility, we also use ProTools 10 to review the mixs.
For the final track list edition, ISRC code inclusion and metadata we use a worldwide market standard: Steinberg Wavelab 8.5, that also allows us multiple outputs for electronic delivery.
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