Like
many
of
my
colleagues, I've
performed
music
(guitar, drums, piano, and vocals) on stage, and in the studio, since
the early 1970's, and
have been the tape op and/or mixer, as well as musician, on various
multitrack recording
sessions, since the
mid-1980's... I took Computers & Music at U. C.
S. D., in
1986, as well as Musical Literacy, but decided that the academic
dissection of music theory was
getting in the way of my enjoyment of music's unstudied
surprise.
Most of my knowlege of the technical side of audio recording was learned hands-on, when I ended up working in a couple of friends' small recording studios, here in Cincinnati. Several years later I opened up my own studio and now have over 11 years' experience doing CD premastering. The first release I worked on in that capacity was Little Arthur Duncan's, Live In Chicago! (Random Chance), a great live Blues recording that earned a life-long musician his first label-issued release.
My personal listening tastes run from Ravel to Master P. I especially like music with minor and major modes intertwined, regardless of genre.
Incidentally, my Highschool days hardcore punk rock band, Sluggo, released a 7" 33 1/3 rpm EP that was mastered back in 1983, here, in the QCA building. Indeed, the fathers were plated and pulled right here where the pressing, printing, and packaging took place for most of the area's vinyl manufacturing. I also sung on a synth Pop
EP by Nicholas Elissia that was mastered at QCA in 1985. Although it, too, was a 7" 33 1/3 rpm sound disc, QCA was doing all sizes and also 45 rpm. My best friends' parents had already made an lp. here, as did some of my favorite local bands. I am, therefore, intimately familiar with the expectations of a recording artist and the realities of the end products of CD premastering, and lacquer cutting.
Rest assured, the signal processing applied while premastering is not supposed to change the sound drastically. Howevever, there is a potential for the tonality and level of the studio master tape or file to require careful adjustments in order to translate best to the recording medium used for mass consumption, be it data stream, CD, DVD, open reel, or vinyl. During the premastering session, corrections can be made that allow the detailed listening experience of the studio control room mixing session to be enjoyed, to some degree, in the car, and the home. Longstanding familiarity with the recording facility I have set up, here, in Queen City Album's old studio B, now, with extra bass trapping and a custom wall, enables me to make wanted improvements in the loudness, clarity, and balance of your mixes, while maintaining their original aesthetic qualities that are as intended...
Most of my knowlege of the technical side of audio recording was learned hands-on, when I ended up working in a couple of friends' small recording studios, here in Cincinnati. Several years later I opened up my own studio and now have over 11 years' experience doing CD premastering. The first release I worked on in that capacity was Little Arthur Duncan's, Live In Chicago! (Random Chance), a great live Blues recording that earned a life-long musician his first label-issued release.
My personal listening tastes run from Ravel to Master P. I especially like music with minor and major modes intertwined, regardless of genre.
Incidentally, my Highschool days hardcore punk rock band, Sluggo, released a 7" 33 1/3 rpm EP that was mastered back in 1983, here, in the QCA building. Indeed, the fathers were plated and pulled right here where the pressing, printing, and packaging took place for most of the area's vinyl manufacturing. I also sung on a synth Pop
EP by Nicholas Elissia that was mastered at QCA in 1985. Although it, too, was a 7" 33 1/3 rpm sound disc, QCA was doing all sizes and also 45 rpm. My best friends' parents had already made an lp. here, as did some of my favorite local bands. I am, therefore, intimately familiar with the expectations of a recording artist and the realities of the end products of CD premastering, and lacquer cutting.
Rest assured, the signal processing applied while premastering is not supposed to change the sound drastically. Howevever, there is a potential for the tonality and level of the studio master tape or file to require careful adjustments in order to translate best to the recording medium used for mass consumption, be it data stream, CD, DVD, open reel, or vinyl. During the premastering session, corrections can be made that allow the detailed listening experience of the studio control room mixing session to be enjoyed, to some degree, in the car, and the home. Longstanding familiarity with the recording facility I have set up, here, in Queen City Album's old studio B, now, with extra bass trapping and a custom wall, enables me to make wanted improvements in the loudness, clarity, and balance of your mixes, while maintaining their original aesthetic qualities that are as intended...
Andrew
Hamtilon,
clerk
member: Audio Engineering Society; The Recording Academy
member: Audio Engineering Society; The Recording Academy
rewind
play
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and many other titles, including:
"Jazz with O.T." - the radio show of Oscar Treadwell, transferred from over 280 analog tapes to CD-R, for the Cincinnati Public Library.