If you have a Demo, EP, CD, or other audio project in mind, Sonic Imagery Productions can provide you with quality recordings at reasonable rates. Sonic Imagery is a mid-sized, home-based studio that operates on an Avid Pro Tools 12.7 Native System with immediate16-track analog and digital recording capabilities. Perfect for small to mid-sized projects, Sonic Imagery can accommodate single artists, duets, trios, and small quartets. Development for larger facilities are in motion and any updates regarding this will be posted via the News & Events and Facebook pages.
Mobile services are also available for "live or "on-site" recording. All studio gear is brought out to your location of choice and setup in accordance to the live environment. Once sessions are complete all other services are performed back at Sonic Imagery Studios. For those who choose the recording package only, you will receive all files related to the sessions in whatever format you want. Be sure to check out the discounted bundled services available via the Rates page.
They say that "the Mix" is the glue that binds everything together. With that being said, it is my job to do this seamlessly. One of the first things I do involves a bit of prep work: this includes such things as renaming tracks, grouping, routing, section marking, and creating stems. This preparation creates a solid navigational template for the management of tracks and increases the efficiency of my work flow.
So that I can exceed the highest standards for my clients, I must accomplish several things. A successful mix creates the proper balance and separation of each instrument in relation to each other. Artifacts not complimentary to the tracks are removed. Subtle adjustments in tone, dynamics, depth of field, and stereo width are made. These tasks are accomplished with the aid of several hardware and software components such as: meters, analysis applications, outboard gear, and plug-ins to name a few. Proper monitoring and gain staging throughout the session also helps with the clarity and cohesiveness of the mix.
Though my main focus is always on the mix, I may make an occasional suggestion in regards to production. For example, sometimes a simple change in the song arrangement might make for a more interesting and powerful body of work. Another example would be the addition or subtraction of tracks from the mix. Regardless of any suggestions that I may make though - my clients will always have the final word. Working together, we can ensure success.
Once the final mix is approved by the client, it's on to the mastering stage - better known as the "Spit & Polish". Once again subtle adjustments in tone, dynamics, depth, and width are made for further refinement. Reference tracks (provided by the client) help in the analysis and completion of this task. EQ matching is also a technique that can help sculpt the "sound" the client is looking for.
Final levels are also addressed to make your songs competitive in the marketplace. A "loudness war" has been going on for some time now, but that doesn't warrant the sacrifice of quality and dynamics (in my humble opinion). Though standardization is in place in regards to post-production and broadcasting, it still has a way to go for the rest of us. Reference tracks can once again help by comparative analysis. Consultation with the client in regards to this matter will be made to achieve customer satisfaction.
Whereas mixing is relational between all tracks, mastering requires proper balance between songs. Sequencing is very important; the object is a fluid continuum from start to finish. Song order can make all the difference between a customer choosing only one or two tracks to download, or buying the complete CD. This is especially important for themed or conceptual works. Last but not least, fading and pregap lengths between songs are established for smooth transitioning. Upon final approval of the client, the project is released for distribution.
The recording of voice for radio, video, narratives, presentations, and cover songs (backing/instrumental tracks).
All dubs, mixing, and DDP image included.
set them down in notes." - Ludwig van Beethoven
DDP stands for Disc Description Protocol. It is a delivery format that ensures an error protected audio material supplied by the mastering studio and suited for CD/DVD replication. DDP was invented by Doug Carson and Doug Carson and Associates to help manufacturers have a consistent and complete description of the input media for use in the glass mastering of a CD/DVD. DDP images can be burned to CD/DVD, or reliably transferred to replication facilities via Internet protocols such as FTP.
Nowadays, DDP is becoming the audio industry standard for optical discs replication due to their reliability and the robust data error (if any) correction algorithms. Audio CDs on the other hand, introduce far more errors on burning and playback with less reliable error correction.
The DDP must contain 4 parts:
- Audio image(s) (.DAT file(s)
- DDP Identifier (DDPID)
- DDP Stream descriptor (DDPMS)
- Subcode descriptor (PQDESCR)
Further information such as: track titles, timings, and ISRC data can also be included in the imaging process.