Professional Sound Magazine 25 October 2012 The kind folks over at Professional Sound Magazine decided to do a featured article on our new studio venture, Fader Mountain Sound. You can download the article as a PDF here. There's been lots of action in our new place, so check out the article to find out more about what it's all become this year!
Fadermaster Studios' second episode for the our new web series, "Just The Tips". Shawn Cole explores the difference between the almighty plugin world and the real thing. In this episode, he puts the Roland Space Echo RE-201 on trial. Watch and learn, then decide for yourself, yourself, yourself....
Fadermaster Studios' first episode in a new podcast series called, "Just The Tips". A great introduction and overview on what goes on in a studio. Shawn Cole breaks it down in a way that even a non-audio-nerd can understand and enjoy. For those of you needing more, stay tuned for this series as we delve deep into the mysteries of production, recording, mixing and mastering!
It's Podcast #5! Elias, the aspiring film student has started to put together some studio podcasts for us, and we're thrilled. Now that Elias is on our fantastic team of studio nerds here at FaderMaster, you can expect more studio podcasts being released on a regular basis....
Here's a clip of Shawn, Paul and a little bit of Spencer, just working away in the studio as usual. Shawn is a human compressor, it's true. Enjoy!
It's been a long time coming, but we finally managed to get our act together and podcast this treat for all the audio nerds out there. It's our first ever gear shootout at the studio, and we're quite pleased with the results.
Why a preamplifier shootout? Well, we love preamps, we love Boris Drazic and we love The Creamer. The Creamer was amazing upon first listen so we had to stack it up against some of our existing beloved preamps. So, while Santana tests it out in L.A., FaderMaster Studios is testing it out in Vancouver.
We tested serial #000, the very first Creamer. With labcoats on, and our precious ears lubed up, we began the tests one evening in late May 2010 at the studio. We hope you find the results useful, especially if you are in the market for a new preamp!
Dominique Fricot was kind enough to be our guinea pig for the tests, and we thank him very much for playing the same thing over and over.
Here's the MP3 of what came out with The Creamer, a lead vocal and acoustic guitar mix that we think sounds great. The M160 is on the acoustic and an SM7B on the vocal.
We tested the various preamps as fairly as we could. We chose to do different takes as opposed to splitting the mic signal to multiple preamps. Although this is not a perfect way to test, we felt it would be better than having funky impedances happening via inputs to the preamps from MULTS in the patchbay. We also did not want to run the mics through a passive transformer-based splitter, or an active splitter to avoid any unecessary colouration. We also decided to track the acoustic guitar and vocal seperately to avoid any bleed that would skew the results. We tried out best the match gains across the preamps to further the value of the results. We know that we certainly heard some pretty dramatic differences among the preamps, and it was refreshing to hear these preamps stacked up against each other.
We do love Boris, but that's not why we are all choosing The Creamer as our favourite preamp of the bunch. It was simply the most consistent sounding across the board, not to mention the most versatile as well!
The Shiny Diamonds were at FaderMaster in mid November. Jamie Stewart of Xiu Xiu producing, Spencer Carson engineering. A visual appetizer of their entire video log of their time at FaderMaster Studios.
We've changed our phone number!
(604) 628-2055 Please update your contact info for us. Our fax line is still the same.
The tonal QUALITY or TIMBRE of a sound. The term is usually used in a subjective, descriptive manner, often with such adjectives as 'full' or 'rich'.
A pre-recorded or simulated sound produced for a radio, television, film or theatrical program in order to suggest an actual sonic environment. The design of such sounds (often abbreviated as SFX), particularly when a complex acoustic environment is to be simulated, involves a thorough understanding of the structure of such a SOUNDSCAPE; that is, what sounds are representative and most significant, as well as which are necessary to create a given AMBIENCE and sense of ACOUSTIC SPACE.
Any VIBRATION in the air or other medium, some types of which are able to cause a sensation of hearing.
(French: concrete music) A development introduced in Paris in 1948 by Pierre Schaeffer at the studio of the French Radio (O.R.T.F.). Its aim was to replace traditional musical material with recorded (i.e. concrete) sounds which were then manipulated by FILTERing, tape reversal, TAPE LOOPs, speed changes, tape SPLICEs, or other electronic means. The source of all sounds, however, was environmental. The experimental side of this study developed the concept of l'objet sonore.