Mastering at 96k

Here's a few notes on the different ways you can master your tracks using analogue gear. I mastered a new ep by Theo Verney yesterday Having mixed it in the box at his place he wanted a bit of analogue warmth added prior to main job of mastering. We took his mixes (which correctly didn't have any mix buss compression yet) and sent them via the Apogee Rosetta interface through a Focusrite Red 3 compressor (that's the red rack unit in the pic - just tickling the meters) to the Tascam BR20T quarter inch tape machine (top in the pic) laced with Ampex 456. We put it into record mode and then monitored back the signal coming off tape - and pushed the level so we could hear the effect of tape compr

Digitising the Plate Reverb

I'm making a series of instruction videos for Northbrook College where both Paul and I lecture. Here's the first of the series about using a convolution reverb to digitise the EMT 140 stereo plate that we have here at Church Road. Thanks to current students Connor Macfarlane and Liam McMillan for their help in creating this.

Long Term Project Management

I was working with a client today who is self funding but really wants a perfect product with no short cuts. They have done what a lot of people do these days: take their time over recording. But this one is really one of the longest projects I can remember. We started tracking the album in 2010. And it's still unfinished! What do we need to think about when working over this timescale? Archiving data over that timescale is simple enough. Every session, every folder has a clone of itself. (I guess we should get a RAID system sometime but I would prefer to spend cash on compressors or preamps). Good old LACIE 7200 rpm drives are the main archiving machines here, and touch wood I've only lost

Girlpool live session

We had LA duo Girlpool pop in just before Xmas, for a Bowlegs session. They recorded their album in a day at a friends house. Sassy lyrics delivered in strident hamony check out their site here.

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