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.
Studio Services

Below is a listing of the services we provide at Fader Master Sound Studios. Our studio rates depend on:

  1. What services you require.
  2. How long your project takes.
  3. Who and how many engineers/producers/assistants work on your project.
  4. What time slots you book the studio.

We provide a full service for most projects, from pre-production to mastering. Contact us about your project, and we will be glad to give you an estimate of how much it will cost.

We have been involved with many, many FACTOR grant applications, and offer our full support for any artist/band wishing to apply for a grant to record/produce at our studios.

We also have great connections with BandMerch, who provide a complete manufacturing service (MEDIA DUPLICATION-REPLICATION, PROMOTIONAL MERCHANDISE) at a discount for FaderMaster clients.

Pre-Production/Rehearsal
Production (Independent, Co-Production, Self-Serve)
Recording/Tracking
Mixing, Re-Mixing, Overdubs
Composition
Arrangement


Digital mastering & re-mastering for all types of audio, including music. Our online studio files service makes it easy for anyone, from anywhere to have audio mastered, without having to come to the studio or wait for a hard copy. Just upload your files via our client upload area, and you'll receive your masters back with our web-based media delivery service.


Complete sound design for film, television, multimedia, games, toys, the web & creative sound installations.


Musical Score & Sound Effects/Design (Indie films are welcome)
Mixing
Foley
Editing
Voice-Overs & ADR

Television & Radio Advertising Jingles

We use a fully mobile 24-track digital audio recording system: RADAR 24.

We can record anything you like, including location sound, choirs, bird calls & public/private events/shows.

Bulk or one-off audio encoding/transcoding (MP3, Lossless Audio, Web-Formats, DVD-Audio)

Analogue to digital transfers, restoration and archival. (Vinyl-33/45/78, cassette, 1/4" -2" tape, 8-track, etc.)

Overflow & bulk audio editing and processing.

Internal/public marketing/training audio materials.
Business-to-business audio materials.
Seminars, conferences & meetings.
Motivational materials.
Promotional audio.


We offer private engineering/production lessons and studio training upon request. Most of us also teach at various local techincal schools, and the studio is a listed affiliate studio of The Recording Connection in Los Angeles.


See also: P.A.V.I. | Nimbus | Langara | Stylus College


Audio forensics analysis, reconstruction, restoration and background/noise removal are just some of the other services we provide.

Just because it's not listed doesn't mean we don't do it.
We'd be happy to discuss whatever outrageous audio service you need.



 

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FUNDAMENTAL

If a sound is a complex of many TONEs of various FREQUENCY, AMPLITUDE and PHASE, repeating together in a basic CYCLE of definite frequency, the fundamental is the lowest frequency of this complex and corresponds to the unique PITCH heard in such a COMPLEX TONE.

SCALE

An ordering of a system of PITCHes, usually in ascending FREQUENCY order. The distance between any two pitches or NOTEs is called an interval.

PITCH

The subjective impression of FREQUENCY, in the same sense that LOUDNESS is the subjective sense of the INTENSITY or AMPLITUDE of a sound. As such, pitch is a psychoacoustic variable, and the degree of sensitivity shown to it varies widely with people. Some individuals have a sense of remembered pitch, that is, a pitch once heard can be remembered and compared to others for some length of time; others have a sense of absolute pitch called PERFECT PITCH.

EAR CLEANING

Any process that encourages a person to listen more discriminately, particularly to sounds of the environment. The term was originally used by R.M. Schafer in his book Ear Cleaning (Toronto, BMI Canada, 1967) to contrast with the traditional practice of ear training in music education which concentrates on the identification and reproduction of intervals, chords, melodies and so on.

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