ULN-2 mobile soundcards

 

Préamplis micro exceptionnel

ULN2-2d

Le rêve est réel

Le Mobile I/O ULN-2 Expanded propose deux préamplis micro d’exception ULN-R, six canaux de conversion 24 bits/96 kHz (2 entrées, 4 sorties) et un mixeur interne avec une résolution de 80 bits. Grâce à ses différentes interfaces numériques, il permet l’utilisation simultanée de 12 entrées et 14 sorties.

 

ULN_Backpanel

Les meilleurs préamplis micro disponibles

ULN signifie Ultra Low Noise et les préamplis micro ULN-2 à la hauteur de son nom. Fournir un gain massif (jusqu’à 72 dB) avec un EIN de -130,5 dBu, détail fantastique et une vitesse de balayage ultra-rapide, les préamplis micro ULN sont à des situations d’enregistrement les plus exigeantes, vous pouvez jeter sur eux.

Et bien sûr, il a la même connectivité FireWire, étonnantes convertisseurs A / D / A et puissant DSP intégré que son aîné – le Mobile I / O 2882.

Balanced Analog départs et retours

Le ULN-2 dispose également d’inserts analogiques symétriques pour chaque entrée. Cela vous permet d’utiliser ULN-2 comme un / case Mic analogique autonome pré directe; utiliser les départs comme un splitter actif à conduire un enregistreur de sauvegarde, ou même patch dans le traitement dynamique analogiques entre le Mic Pre et 24 bits intégré / 96kHz convertisseurs A / D.

Options d’alimentation flexibles

Le port d’alimentation XLR 4 broches sur la LSN-2 vous permet d’alimenter l’appareil avec une variété de facilement disponibles des systèmes de batteries de diffusion. Le port d’alimentation à 4 broches est compatible avec les sources d’énergie ayant les caractéristiques suivantes: 9-30V DC, Pin 4 Hot, 15 Watts.

– 2 entrées analogiques micro/ligne/instrument sur combos Neutrik
– Entrées analogiques avec départs et retours analogiques sur jacks
– 2 sorties analogiques sur jacks symétriques
– Convertisseurs 24 bits / 96 kHz dans tous les canaux
– Ampli casque avec réglage de volume en face avant
– Sortie de monitoring master stéréo symétrique avec réglage de volume en face avant
– Entrées/sorties numériques en AES et S/PDIF avec sélection de source
– Entrée/sortie ADAT 8 canaux avec compatibilité TOSLINK
– Mixeur en version 5 pour le routing et le mixage sans latence
– Traitements exclusifs Metric Halo +DSP
– Alimentation par XLR 4 broches pour la compatibilité avec la plupart des batteries pour systèmes nomades
– 10 emplacements mémoire en face avant pour presets du système et de routing pour l’utilisation autonome
– Interface FireWire
– Compact et léger avec alimentation par bus FireWire
– Total recall avec la console MIO
– Pilotes OS X compatibles avec plusieurs unités cascadées
– Entrées micro :
– Réglage de gain : de +6 à +72 dB par pas de 6 dB
– Réglage trim : de -14 à +70 dB
– Impédance d’entrée : 3,3 kOhms
– Distorsion harmonique à 1 kHz : 0,0005% (+9 dBu à 6 dB de gain)
– Distorsion d’intermodulation : -96 dBu (19/20 kHz à +8 dBu)
– Niveau de bruit équivalent (E.I.N.) de 20 Hz à 20 kHz, linéaire à 72 dB de gain :
– Source 150 ohms : -130,5 dBu
– Source 50 ohms : -132,0 dBu
– Source 0 ohms : -134,0 dBu
– Réponse en fréquence :
– De 18 Hz à 20 kHz, à ±0,1 dB
– De 8 Hz à 50 kHz, à ±1,0 dB
– De 3 Hz à 100 kHz, à ± 3,0 dB
– Diaphonie à 1 kHz :
– Trim Link activé : -107 dB
– Trim Link désactivé : -132 dB
– Gain maximum : 72 dB
– Réserve de gain du préampli : 20 dB au-dessus du clip numérique
– Alimentation fantôme : +48 volts, régulée, commutable individuellement, compatible avec le test P48
– Réglage de gain : 6 à 72 dB sur 12 pas
– Réglage d’atténuation continu
– Atténuation link
– Sélecteur micro/ligne
– Réglages de volume de monitoring indépendants
– Commutateurs d’alimentation fantôme indépendants
– Consommation électrique : 8 watts à 9–30 volts DC
– Connecteurs d’alimentation : coaxial 2,1 mm, XLR 4 broches pour batterie pour applications mobiles, FireWire

The Magic of Analogue Tape

Our Studer A807 recorder is ready to reacord your song for a Vinyl release without going into the digital domain.

Find out more info on this amazing tape machine.

 

As the engineer behind Nirvana and the Pixies puts it:

" Today's digital recordings will be unplayable in the future. "I feel it would be irresponsible to give my clients digital files as their permanent masters, knowing they would eventually disappear or become unusable, so I won't do it. Some of the bands I work with don't appreciate the difference, or take seriously the notion that music should outlive the people who make it, and I understand that." Still, Albini feels that analog tape offers the best chance for recordings to survive. I agree, and analog tape can be used to create great sounding high-definition digital masters. That's not true of the vast majority of recordings that are being made today; most are limited to 96-kHz/24-bit digital.

..there will always be work for engineers who can do a good job, because there will always be people who appreciate good sound. "

Find us also on AudioHunt (a great link about tape magic)

The records we love from the 30's until the turn of the 21st century had one thing in common soundwise

They were all mastered to.. 1/4" 2-track stereo, 15ips, NAB equalization (at least in the U.S.) on a reel to reel pro-recorder.

 

This is partly why we master and record sound onto RMG M911 1/4" Master tape after using a range of valve analog equipment to refine the sound and bring out the subtle harmonics usually hidden for the average listener thanks to amazing world class monitoring.

So why don't you bring some tape and come make some pieces of not just history but 'your' story!

We store brand new tape, but even get a roll before you come and rock: here is a source - European SM911 Tape 1/4" Dealer

It's probably the best thing you can do for your music since the day computers were invented..

 

The tape master acts as a final glue for your mixes and no extra noise is added thanks to the valuable Dolby HX Pro circuitry--an anti-distortion for high freq. mode built into the A807, the last tape recorder from Studer, that benefited from over 50 years of analogue research and engineering.

We can also re-master your original 1/4" master tapes(s) into a digital file of the highest quality, using the stereo converters and clock from our Metric Halo ULN2s.

The Swiss precision of the Studer A807 is fed into one of two top-of-range studio-grade analogue to digital converters which capture every detail needed to reproduce the magic of your master tape - no need for an atomic clock, a trained pair of ears and some experience of the way records were made during the last 30 years helps to achieve good results. We aim to keep the 'magic' from the tape and bring it into the digital world.

Our choice of equipment and attention to detail in creating digital files are as painstaking as those in our analogue mastering process. In each case, we convert directly from our refurbished master tape copy into each format separately, never compressing from one format to another. No computers are used in the process; each file is created entirely ‘natively’.

Conversion from analogue to digital is therefore pure and direct, with none of the compression typically involved in the mass-production of digital music.

 Read what Steve Albini has to say on the subject.

 

 

Studio Mobile

We love to travel and capture performances in France, Europe and beyond.

Our geographical position allows us to be in Barcelona, Montpellier, Marseille, Toulouse, Foix, Andorra, Madrid, Bordeaux, Paris.. within a few hours.

Here is an extract of our new travelling music documentary project.   

If you are making music somewhere in the world and need help recording, mixing or mastering, we are able to take your band's performance or session to a new level of sound production.

Available mobile equipment list (comp/fx in mobile racks):

(This email address is being protected from spambots. You need JavaScript enabled to view it. for deals on rentals)

Preamps:

8x Studer 169 Preamps (Neve Style)
2x Fairman TSC (Fairchild Tube style)
2x AMEK 9098 PRE/EQ
4x METRIC HALO ULN-2 +DSP
4x MOTU Traveller
8x Focusrite Octopre Platinum
2x Focusrite SE
1x AKAI s950

Speakers:
Genelec 1030A Pair
Tannoy Precision Passive - Carver Amp
JVC (NS-10s) 1990’s Japanese
Philips (Auratones)
Jamo Sub

Mixer:
Studer 169+Breakout Box

Recorders:
Studer A-807 1/4” 15ips Mastering Tape Recorder
Akai 4000DS
Mastering DAT deck

Mics:

1x Neumann U47 FET (New model)
1x Neumann KM54a
1x SE z5600A
2x SE z3300A  (Neumann U47FET)
1x AKG D25 (Ex. Martin Hannett)

1x RODE NT1
3x Audio-Technica at4040
3x Shure SM57
1x Shure SM58 Beta
1x Shure 1950’s 520D
1x Prosound 80s SM58


3x Tom clip-on mics
2x ElectroVoice 1960s EV676 (Jim Morrison Live mic)
1x Audio-Technica stereo boundary mic
1x Aputure Video mic (for Lumix GH4)

Comps/Limiters:
Fairman TSC
NEVE 2254/R
Alesis 3630

Cameras:
Lumix GH4 - 4k 25p and slomo 96fps in FullHD
Lumix GH2 - Great portrait sensor and colour calibration.
3m cinema Jib/crane
Steadycam with remote and monitor on android for single user operation.

Lenses:
M4/3 Speedbooster for Nikon Lenses
Sigma 1.8 ART 17-35
Nikon 50mm 1.4G/35mm Kogaku/105mm Kogaku)/20-200mm Zoom
Cinemascope Baby Iscorama
Helios 44 Russian lens
Tokina 11-16mm Wide angle

Main Rig

MacBook Pro i7 SSD

2x Metric Halo ULN2+DSP = 4 Amazing Preamps (surround cinema mobile audio recording)


Using our mobile rig and studio Minivan equipped for broadcast and recording, we can come to your location of choice to record in studio quality and film the performance.

The video production crew can then benefit from having the separate channels of audio available for mixing a concert DVD (surround sound).

Using our GH4 and GH2 cameras we can capture your performances in 1080 or 4K Anamorphic ready for cinematic use..

 

The videos below was recorded using the rig and a couple of decent mics..

KaraGunes in Istanbul by SoundBringer

Walking thru the dark night (4K Anamorphic)

Contact us for a project.

Media

VIDEO/PHOTO

Take a look at our Photo Gallery

We can come and record your event in HD using a multiple camera setup and of course we can get the sound from the mixer or record the concert in studio quality with our mobile recording rig.

We have taken some still shots for a lot of musicians and bands to help them build their image and add content to their website, and also use them for Album Artwork.

Check the SoundBringer Channel for our lastest video work, see some live recordings below:

HD VIDEO WITH STUDIO SOUND (Camera: LUMIX GH2 Mobile Audio Rig: MOTU Traveller+Macbook Pro+4 Mic Setup)

HD VIDEO WITH STUDIO SOUND (Camera: NIKON D5100 Mobile Audio Rig: MOTU Traveller+Macbook Pro+4 Mic Setup)

HD VIDEO DEMO (on-board mic LUMIX GH2 - Filmed using a two camera setup, a GH2 using a Tokina 11-16mm lens and a Nikon D5100 with a 50mm nikkor prime.)

 

Profitez de notre service de prise d'images et de son,

Grace au nouveau Lumix GH4, nous vous proposons de filmer:

- votre évenement (concert, performance, atelier, spectacle..)

- vos locaux (studio, maison, salle, bureau, gite, hôtel..)

- ou encore votre activité, pour la faire découvrir au plus grand nombre en UHD 4K..

La qualité de nos optiques cinéma combinée a cette definition mettra en valeur votre travail et vous permet désormais de tourner une vidéo professionelle dans le lieu de votre choix avec une prise de son de qualité studio.

 

Photo/Video Gearlist:
Cameras:
Panasonic Lumix GH4 4K camera + 64Gb card.

Panasonic Lumix GH2 Updated + 32Gb card.
BMCC Speedbooster by Metabones

Lenses:

Iscorama 1.5x Cinemascope Lens

Nikkor 50mm f/1.4 AF-S  + Nikkor 105mm 2.8 Kogaku (1960's) Prime lenses.
Wide Angle Tokina 11-16mm f2.8 AT-X PRO DX 
Wide Angle Lumix 20mm f1.7 ASPH Pancake
Zoom Sigma ART 18-35mm f1.8 
Zoom Nikkor 80-200mm f4.5


Tripods, Heads and Rigs:
Manfrotto 190DB with fluid head 128RC
Manfrotto 055A with 3DVR 302 Plus head

- Water Counterweight Cinema Crane/Jib

- 3 axis brushless motors STEADYCAM Rig.


Clip-on Mics
Aputure V-Mic Hyper Cardoid with windshield

 

Lee Perry in Toulouse

STUDIO RECORDING

Our Main Space is an acoustically treated control room with a nice fire stove and welcoming vibes.

There is an adjacent recording room in which you can achieve a great acoustic separation thanks to a 1m thick stone wall. A couple of other rooms can host horns or vocalists.

Our studio also offers multi-track recording in a place you choose, from your living room to a stage, a forest, a chalet, on a rooftop like Joy Division, we can record you just about anywhere..

Also without moving from the studio, you can sit by the fireplace, close your eyes and we'll setup a classic microphone with some great headphones (Beyer DT770 Pro)..

Hear your voice/instrument and let us take you to any space you want to sing in and create YOUR SOUND around that SPACE with a Lexicon Reverb bought from a Nashville Recording Studio and the completely analogue 'valve' signal path.

Microphones:

Valve/Tube:

Vintage 1954 Neumann KM54a ex BBC valve mic (u47 cousin with AC701K valve)

Considered as one of the 10 best vintage mics in the world (as used for the Beatles in Abbey Road)


SE Electronics z5600a with GE Triple Mica 5 Star 1950’s Valve

Snow Patrol with SE z5600a

 

Condenser/FET

1 Neumann U47 FET (read about it here Sound On Sound Article)

The list of renowned artists who have created musical masterpieces with the sound of the U 47 fet – including AC/DC, Kate Bush, Bruce Springsteen, and later R.E.M, the Pretenders, a-ha, Dire Straits, Metallica, Michael Bublé and many others ..

One of its particular strengths was an ability to cope with extremely high sound-pressure levels — up to 147dB SPL with the 10dB pad switched in (for comparison, the original U47 was getting pretty crunchy by 120dB SPL). The FET 47’s high SPL-handling capability quickly made it a firm favourite for capturing kick drums, bass instruments, guitar amps, brass and many other demanding instrumental applications. Although never as popular as a vocal mic as the original U47 — it sounds a little more ‘closed–in’ and flat than the original 47 (which has a much broader 5dB presence boost) — the FET 47 was still quite usable in this role too, particularly for male vocals and speech. Its modest 2dB of presence boost between about 2 and 5 kHz is enough to aid clarity and intelligibility in a mix, while the gentle proximity boost adds a degree of body and warmth.

Bruce Swedien (r.) with Wolfgang Fraissinet (President of Neumann)

For decades, legendary recording engineer and producer Bruce Swedien has been an enthusiastic fan of the U 47 fet. One of the many highlights of his career was recording and mixing the Thriller album with Michael Jackson in the year 1982. Duke Ellington, Quincy Jones, Natalie Cole, Diana Ross, Donna Summer and Barbra Streisand are only a few of many other stars with whom he has worked. He has been nominated for a Grammy award 13 times, and has been a Grammy winner five times.

In his book Make Mine Music, he wrote about the U 47 fet: “My personal favorite of this series (Neumann fet 80) is the U 47 FET. I have two U 47 FETs, very close in sequence numbers, that sound simply fabulous! I absolutely treasure these lovely mikes.”

In 2005, in the Music Player Network Internet forum, he wrote: “The U-47 fet is one of the best sounding Neumann condenser mikes! It is vastly underrated by the industry! I absolutely love mine” and “The U-47 fet is a wonderful vocal mike! A nice and very useful amount of proximity effect. Great for thin voices. The great thing about using the U47 fet on acoustic guitar is also the proximity effect on some guitars ...

2x SE Electronics z3300a ( (Neumann U47FET)


3x Audio Technica AT4040 - (also read Gearslutz Reviews)


1x Vintage 1992 M80 Fender guitar mic

1x Rode NT1

Video/Camera Mics:

1x Audio-Technica stereo boundary mic
, 1x Aputure Video mic (for Lumix GH4)



 


Dynamic Mics

1x Vintage 1950s AKG D25 (Ex. Martin Hannett stock used for Joy DIvision, New Order, Nico for Factory Records Manchester)

 

1x Vintage 1952 

Shure 520 Green Bullet

with Black Label CR 99A86 Element (read the history of this legend)

 

 


3x Shure SM57
, 1x Shure SM58 Beta
, 1x Prosound 80s SM58, 
3x Tom clip-on mics

2x ElectroVoice 1960s EV676 (Jim Morrison Live mic)

 

Preamps:


2x Fairman TSC, 
2x AMEK 9098 PRE/EQ, 
4x METRIC HALO ULN-2 +DSP


4x MOTU Traveller
, 8x Focusrite Octopre Platinum
, 2x Focusrite SE
, 1x AKAI s950



Speakers:


Genelec 1030A Pair
, Tannoy Precision Passive - Carver Amp, 
JVC (NS-10s) 1990’s Japanese
Philips (Auratones)
, Jamo Sub

,

Mixer:


Studer 169+Breakout Box



Metric Halo 80bit digital workstation (the power of two ULN2s plus DSP)

Recorders:


Studer A-807 1/4” 15ips Mastering Tape Recorder, Akai 4000DS
, Mastering DAT deck

 

Comps/Limiters:


Fairman TSC, NEVE 2254/R, 
Alesis 3630, LA AUDIO 4x4


Reverb/FX:
Lexicon 300L + MIDI LARC remote, Roland SDE1000, Korg A3

 + many pedals by OCD, BOSS..

Cameras:


Lumix GH4 - 4k 25p and slomo 96fps in FullHD
Lumix GH2 - Great portrait sensor and colour calibration.


3m cinema Jib/crane + 
Steadycam with remote and monitor on android for single user operation.



Lenses:


M4/3 Speedbooster for Nikon Lenses, 
Sigma 1.8 ART 17-35 
Nikon 50mm 1.4G, 35mm Kogaku, 105mm Kogaku), 50-200mm Zoom, 
Cinemascope Baby Iscorama
, Helios 44 Russian lens, 
Tokina 11-16mm Wide angle



Headphones:
Beyer DT770 Pro 250 omhs (2015)
Beyer DT100 (vintage brand new 1980s)
Akai (1970s)

To get inspired and compose tracks in the studio, you also need to start with some good instruments.

SoundBringer, we collect good quality microphones and fine musical instruments, all full of history and soul/character.

Like many, we also use a very large collection of SoundBanks in Kontakt 5 controlled by the Novation Remote SL 37 keyboard:

  • studiomainsm
  • studiomainP1080378sm
  • studiodrums3sm
  • studioconsole
  • studioP1080379
  • marshall
  • marinaP1030759web
  • machines from a golden age
  • leostudio
  • drumsstudioweb2
  • _1130628
  • _1130622
  • _1130620
  • _1130617
  • _1130611
  • _1130600
  • _1130598
  • _1130596
  • _1130593
  • _1130592
  • _1130517
  • _1130515
  • _1130512
  • _1130505
  • _1130497
  • _1130496
  • _1130494
  • _1130493
  • _1130489
  • SOUEIX-ENTREE-POSTCARDweb
  • P1100814Shutter Speedsm
 

Take a pick from our collection of sound sources..

1980s Sonor Force Drumkit (plenty of cymbals by Paiste, Sabian, UFIP, Meinl..).

Jackson SLATXMGQ3-6 Solist TBK - Floyd Rose

2001 Gibson Memphis Little Lucille B.B. King electric guitar ( Gibson ES-355 varitone sound).

Gibson Little Lucille

2005 Korean Epiphone Black Beauty Les Paul Custom

1996 Fender Stratocaster U.S. 50th Anniversary electric guitar. 

1982 Marshall Stack 100W Super Lead JCM800 2203 20th Anniversary

Marshall 4x12 1960B Cabinet with mostly CELESTION G12T-75  ROLA speakers 1777 Kurt Mueller cones.

Marshall 400W 1970s Marshall 8x10 Bass cab (think Ozzy Osbourne)

Pedals: OCD Fulltone MKIV, Boss BE-5B Bass pedal, VOX Wah Wah...

Sire Marcus Miller V7 Swamp Ash Bass

Sire V7

Santander Bass with Flatwound d'Addario strings.

Aria Pro II Mad Axe Bass

Korg Triton Pro Keyboard with Moss Synthesis Expansion (EXB-MOSS) and fuill Ram (from Jean Roussel collection) .

Roland SPD-S Pad-Sampler

Roland TR-727 Latin Drum Machine.

Akai S950 (1988) Legendary 12bit Hip Hop Sampler fitted with SD card reader.(the sound of gritty Hip Hop and Fatboy Slim..)

E-Mu Proteus I + Proteus XR (1989)..

Roland JV1010 (Piece of history previously owned by 1 Giant Leap maker!)

Korg Electribe Valve Sampler ESX-1 

 ------------------------------------------------------------------------------------------------------------------------------------------------

 

Acoustic Instruments:

Vintage 1970s Suzuki Nagoya Classical Acoustic guitar No.33 (it looks like this one here)

Suzuki Nagoya

Vintage Mandolin (D'Addario Strings)

12 String Acoustic guitar

Yamaha Folk Acoustic

Persian Sadeghi Santoor (9 Bridges 96 strings and 7 Bridges)

The Persian 12 Bridges Sadeghi Santour

M'bira/Sanza (x3), and other world percussions.

Schlagwerk BC 462 2inOne Bass Cajon

 

Turkish Darbouka from Istanbul

 

Use some real outboard FX and the DSP from the ULN-2s.

 Other Sound Processors:

2x Amek 9098 EQ

Alesis 3630 Compressor

   
Roland SDE-1000    
   
2x AMS-Neve 2254R    
Lexicon 300L

Fairman TSC (stereo)

SlapBack Audio

Scintillator Stereo Expander

   
Korg A3    

Saturation effects pedals

Fulltone OCD MkIV

 

 

Make great music!

Follow us!

We pride ourselves in offering a very competitive Mixing and Mastering service for up and coming and established Artists from all around the World. We can create a mix of your track ready using analogue and digital processing and Master a single track or a complete album.

Get a Quote by This email address is being protected from spambots. You need JavaScript enabled to view it. us.

 

SOUND DESIGN

We make music for games, documentaries, radio plays, podcasts, whatever you need sound for. 

In an age of worldwide communication, your sonic presence is your voice. so make it loud and clear!

Record or Licence some sound for your documentary, blog, public space, exhibition, meditation class, podcast, radio broadcast...

Wherever you are, we can help you improve your sound strategy..

MASTERING

We prepare your final tracks for Vinyl, Broadcast, CD (Red Book CD and DDP) and web distribution (wav/mp3/mp4/aac/flac).

You can now send us your file and place an order using paypal (buyer protection included). So in case you want a refund, it's easy.

Link: Place an order for 1 track - Send your file to soundbringer at gmail.com

Check an Example of Album Mastering (Karagunes from Istanbul)

New! our Profile on soundBetter. Also visible on AudioHunt, we offer select services such as re-amping, ASP and mastering using a range of equipment.  Check the menu.

As monitors, we use Genelec 1030A speakers and Tannoy Precision monitors that go up to 50000Hz, we care for this because a signal’s higher harmonics can matter especially to create a tangible stereo perception.
Rupert Neve talks about the body being unable to relax when the HF content is cutoff beyond 20KHz so we respect the sound well beyond the perceived human hearing range..

 

Mastering is an Artform, requiring creativity and tools as the making of the music does, but with the aim to always imagine what the Artist wants the outcome to sound like in his mind.

We can master your song to 1/4inch at 15ips Mastering tape using a Studer A-807 through our outboard and then export to digital, this way you can keep a master tape reference for further format conversion (no dithering or other sound problems)

Final CD/WAV mastering is done with SonicStudio SoundBlade HD on Mac Pro. A Benchmark Digital Audio Workstation For Mastering, Restoration, Recording & Mixing. • Sonic Studio Engine (SSE) is trusted by mastering engineers worldwide for its transparent sound.

The digital domain is looked after by two Metric Halo ULN-2 Interface +DSP which allow extremely accurate capture and reproduction of sound, which matters when you leave the digital domain to go thru to analogue and back to the computer. Our analogue mastering service combines treatment with the legendary Fairman TSC Opto Valve Stereo Compressor/Limiter, two linked Legendary NEVE 2254/R Compressor/Limiter and Sonnox/Pulteq Eq (Software), Lexicon Mastering Tools as well as the Metric Halo +DSP tools such as M/S and Parallel Compression.

As a Label, we can also release or help your distribute your music yourself on various platforms (eg: itunes, bandcamp, youtube..).

As part of the Mastering we can add your work to our online label and create your Custom ISRC code with our SCPP/IFPI membership and insert it into your MASTER. This way your music will be trackable online and you can then get paid when your song/video gets played on all the platforms.

As long as we’re not too busy, we will be happy to do a test master of one of your tracks to show you what we can do for your music.

 

How To Send Your Files

Your mix can be uploaded to our servers securely, please This email address is being protected from spambots. You need JavaScript enabled to view it. for the ftp details, if you send us your tracks on a CD, prefer 24 bit WAV files on a CD-ROM. 

Mail to:

Bart Izoard

SoundBringer Mastering House

Soueix-Rogalle 09140 France

Try and keep you levels down and bypass any master bus compression / limiting / widening you may have your master bus.

•  File Type : Wav / Flac / Aiff
•  Bitrate : 16 – 24 – 32 bit / 44,100 khz, 48khz, 88.1 khz, 96khz  •  Headroom : -3db

 

Should I Attend The Mastering Session

Having the artist attend the session can often be useful for both parties, and make for effective and fast communication. However, it is not absolutely essential that the artist attends the session and it is commonplace that mastering sessions and communications are dealt with via FTP (file transfer protocol) and email/telephone respectively.

As mentioned, it is not essential that artist attends the mastering session. There are certain things that should be provided to the mastering engineer, however:

This is the song order of your album. There are many possible orders and this should be decided and given to the mastering engineer before the session.

 – any questions and concerns you may have. For example, perhaps you feel one song is too quiet, or the vocal is not quite bright enough, or you want a warm and darker master. Let the mastering engineer know this, as he will otherwise take lead from what he is hearing and assume that it is the creative intention of the artist and producer.

 

Also read 'The Art of Mastering'.

 

We offer..

      • Attended, unattended and online mastering for CD, Downloads, Web, Video and DVD. Also preparation and pre-mastering for vinyl cutting.
      • Delivery of verified DDP or Red Book masters for CD, files for downloads, Enhanced CD and DVD authoring.
      • Transfer, archiving and audio restoration from vinyl and tape.
      • Mastering from stems.
      • Mastering for itunes see: http://www.apple.com/itunes/mastered-for-itunes/

 

Dj Mix Mastering Service

Our DJ mix mastering service is customised for all genres of mixes including podcasts and promotional mixes. Much like our analogue mastering service, dj mix mastering using the same analogue mastering chain but spans across a whole mix from start to finish. Whether your send your DJ mixes or a band/live set recording. Prices are dependent on the length of your mix and can be up to a total of 2 hours long.

This process of mastering is used by many professional DJ's and radio shows needing a professional release quality master to upload to their social media outlets and websites.

 

Monitoring Environments:

Main Studio: Tannoy Precision 6D Center and Stereo Reference monitors with JBL Sub - Carver 2x175 amp. Genelec 1030A Pair. 5.1 Surround monitoring using a combination of the above. Also a vintage JVC acting as a pair of NS-10s.

Listening Room: Philips Stereo Monitors and/or 1969 Dual Speaker Mono check with Audiophile Class D Amp SMSL SA-S3 2021b Tripath based on this famous chip..

 

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