StudioPros

There are a few organizational steps you need to take to clean up your session before sending your files off to our Studio Pros engineer.

1. You’ll need to hide all muted, inactive, midi or any other track that you didn’t intend to play in the  final mix.  Set up the files as clearly as you can by making sure the tracks are clearly labeled.
2. If you do have midi tracks, you must record the midi sounds to an audio track.
3. If you have special effects that are part of your audio track, bounce the track to a new channel by clicking: File > Bounce To > Disk.
4. * PLEASE NOTE: We will not be able to take off any processing or effects you have applied to an audio track.   We prefer to do the effects or processing for you within the mix.  Please be sure to mention the sounds you had in mind in the description of your order.  You may also include reference tracks from similar artists to clarify the “mix sound” you had in mind.

Cleaning up your session

1. Make sure to double check all edit points throughout your song and make sure there aren’t any noticeable clicks or clips that would make your edit obvious in the final mix.
2. Remove all plug ins and automation you may have applied to your song within your own session.  This will ensure that all of the files will transfer over to us correctly, and we’ll use our own plug-ins and automation techniques in our mix.
   

   Consolidating your tracks within your session

1. When you have all your tracks lined up and ready to send to mixing, it’s important to listen to your project from start to finish.  Double check for errors in your song before consolidating your tracks.
2. Then, select all the tracks, first by clicking on the first channel, holding the shift button and clicking the last tracks, and then by clicking Apple (or control) A, and consolidate them by clicking: Edit > Consolidate.
3. Now you should see all your tracks from the same starting point in your project from beginning to end. (more…)

Let Studio Pros help you fill in all of the missing elements to your home recordings.

Adrian Sakashita is a composer who spends his time between Los Angeles and London as well as an online business owner.  This is the perfect case for Studio Pros, as Adrian can manage his projects from all around the world and still be kept in the loop on his production, while not wasting too much time at a studio.

 Studio Pros just recently worked with him on his latest work “Seduction” and filled in the missing pieces of his recordings using our studio musicians, “Studio Pros helps make better music!  I simply couldn’t resist the temptation and dove in head first a few years ago.  Since then, I’ve turned my attention back to composition.”

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At Studio Pros we like to take from what’s worked in the past and apply it to what we’re doing today. We have worked with many artists that request this sort of “British Rock” sound, and we know just what they have in mind.

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“British Rock n’ Roll”, as they called it, was a significant change in rock n’ roll that took place in the late 50’s/early 60’s in the UK and later spread around the world. Artists were taking from US rock n’ roll influences and giving it a British edge. This style became the characteristic sound of the Beatles , The Rolling Stones , the Who , Herman’s Hermits, the Dave Clark Five, the Animals, The Kinks , the Small Faces, the Yardbirds, and Donovan among many others. It worked. People obviously liked what was coming out of this new era and it changed the wave of music forever.

When we have an artist’s reference to the overall final sound they are going for, we are happy to help in any way we can to produce their song the way they had in mind. Of course, this is not the only sound that we can achieve with our studio musicians at the Studio Pros recording studio, but an option for those post “British Rock” enthusiasts.

To get that “British sound” we tend to use a lot of compression on our piano tracks, space out the drums (big drum sounds are big in this style) and give the overall mix a dark overall sound with compression.

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