Summer 2014 Deals 28 June 2014
Summer Deals at Fader Master are back!
Book your studio sessions from July 1, 2014 until September 1, 2014 for only $285.00+Tax. This price includes an assistant and there are no restrictions on the session times, or any studio equipment. Call or contact us to book your sessions while the deal lasts.
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.
When sounds are conducted separately and independently to each ear via tubes or headphones, the sounds are said to be heard dichotically. In various psychoacoustic experiments, isolation of the function of each ear is desirable, such as in the testing or simulation of BINAURAL HEARING with the PRECEDENCE EFFECT, or in testing preferences for different sounds presented simultaneously to separate ears.
(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.
A form of active participation in the SOUNDSCAPE. Though the variations are many, the essential purpose of the soundwalk is to encourage the participant to listen discriminatively, and moreover, to make critical judgments about the sounds heard and their contribution to the balance or imbalance of the sonic environment.
An adjective describing any process involving the transfer of a SIGNAL from acoustic to electrical form, or vice versa. Most commonly, TRANSDUCERs such as the MICROPHONE or LOUDSPEAKER are examples of this process.