Engineering: Part of the audio science dealing with the recording and reproduction of sound through mechanical and electronic means. The field draws on many disciplines, including electrical engineering, acoustics, psychoacoustics, and music. Unlike acoustical engineering, audio engineering generally does not deal with noise control or acoustical design. However, an audio engineer is often closer to the creative and technical aspects of audio rather than formal engineering. An audio engineer must be proficient with different types of recording media, such as analog tape, digital multi-track recorders and workstations, and computer knowledge. With the advent of the digital age, it is becoming more and more important for the audio engineer to be versed in the understanding of software and hardware integration from synchronization to analog to digital transfers. more info

Editing: Great editing is editing the listener never noticed. 50% of the songs you listen to were not recorded the way you hear them. The arrangement was augmented in the editing process. Maybe the verses were too long, or a guitar solo too long. Maybe a certain hook was needed more. All these manipulations are made post mixing and sometimes even post mastering. Sure it is better to get things worked out before recording, but the fact remains that sometimes hind sight sees the arrangement much clearer. Editing can save the song. more info

Mastering: A form of audio post-production, the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). The format of choice these days is digital. more info

Restoration: Audio restoration is a generalized term for the process of removing imperfections (such as hiss, crackle, noise, and buzz) from sound recordings. Record restoration is a particular form of audio restoration that seeks to repair the sound of damaged records. Modern audio restoration techniques are usually performed by digitizing an audio source from analog media, such as lacquer recordings, optical sources and magnetic tape. Once in the digital realm, recordings can be restored and cleaned up using digital audio workstations (DAWs). DAWs can perform various automated techniques to remove anomalies using algorithms to accomplish broadband de-noising, de-crackle and de-hiss tasks. Often audio engineers and sound editors use DAWs to manually remove "pops and ticks" from recordings. DAWs are capable of removing the smallest of anomalies without leaving artefacts and other evidence of their removal. Audio restoration is often a time consuming process that requires skilled audio engineers with specific experience in music and film recording techniques. Especially when removing "tape hiss". Tape hiss is the high frequency noise present on analogue magnetic tape recordings caused by the size of the magnetic particles used to make the tape. Effectively it is the noise floor of the recording medium. It can be reduced by the use of finer magnetic particles or by increasing the amount of tape used per second to record a signal. Once the audio is converted to digital expert techniques can remove 100% of the hiss without altering the high end frequencies. It's amazing how many old analog recordings still exist out there. We specialize in analog to digital transfers and re-mastering the medium to bring the dynamic level up to today's dynamic range. more info

MP3 Compression: As we move forward everything is shrinking. What once existed on miles of analog tape is now stored in compressed digital formats on iPods, cell phones and mobile memory sticks. Mathematical algorithms altering the data's size and quality. It is this added care of the "media" from the birth of an idea, the concept stage, to the consumer's choice of "playback" that is our greatest concern and separates us from the competition. In music land 2009, size compression has become a fact of life. Even radio stations compile their play lists using the MP3 format. More and more we see tracks being sent all over the world from studio to studio. You want a certain artist to play on a particular track? You send them the track. When the track is being recorded, the artist, the player and the producer might well all be in different locations. All connected together using digital cameras or live "chat" software. The cost is significantly reduced. Make no mistake, MP3 compression is an art onto itself. For home computer use, the 128Kbps rate produces a sound quality that the average listener believes equal to an audio CD. However, this is false. Engineers with ears hate MP3 compressed audio period, and really hate music at a low 128Kbps compression bit rate. To even consider implementing MP3 use in advanced audio recording, it is necessary to use a minimum bit rate of 320Kbps to reach a quality comparable to the original wave audio. more info


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