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mixrecord is a studio to produce a music with expression “music is xpresion” based on a balance and mix of sound.

Pricelist :
– Recording
IDR 400.000/lagu

– Mixing
IDR 300.000/lagu

– Mastering
IDR 200.000/lagu

– Full Album Package
IDR 8.000.000/10lagu

Address : Jalan Moch Abbas(Gg.Kartini 1) No.3a Cianjur.
sound engineer : dikikamikaz3
booking contact : +628567243111 -> Diki Januarsah
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Web
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Enjoy the music that we produce

Re-amp

Reamping is a process often used in multitrack recording in which a recorded signal is routed back out of the editing environment and run through external processing or reverb chamber. Originally, the technique was used mostly for guitars: it facilitates a separation of guitar playing from guitar amplifier processing—a previously recorded audio program is played back and re-recorded at a later time for the purpose of adding effects, ambience, or modified tonality. The technique has since evolved to include many other applications. Re-amping can also be applied to other instruments and program, such as recorded drums, synthesizers, and virtual instruments.

Examples of common re-amping objectives include musically useful amplifier distortion, room tone, compression, EQ/filters, envelopes, resonance, and gating. Re-amping is often used to “warm up” dry tracks, which often means adding complex, musically interesting compression, distortion, filtering, ambience, and other pleasing effects. By playing a dry signal through a studio’s main monitors and then using room mics to capture the ambience, engineers are able to create realistic reverbs and blend the wet signal with the original dry recording to achieve the desired amount of depth.

The technique is especially useful for softening stereo drum tracks. By pointing the monitors away from each other and miking each speaker individually, the stereo image can be well preserved and a new depth can be added to the track. It is important to check that the microphones being used are in phase to avoid problems with the mix.

Audio Mastering

Mastering, a form of audio post-production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). Recently digital masters have become usual although analog masters, such as audio tapes, are still being used by the manufacturing industry, notably by a few engineers who have chosen to specialize in analog mastering.

Mastering requires critical listening; however, software tools exist to facilitate the process. Mastering is a crucial gateway between production and consumption and, as such, it involves technical knowledge as well as specific aesthetics.^[1] Results still depend upon the accuracy of speaker monitors and the listening environment. Mastering engineers may also need to apply corrective equalization and dynamic compression in order to optimise sound translation on all playback systems. ^[2] It is standard practice to make a copy of a master recording, known as a safety copy, in case the master is lost, damaged or stolen.

Sound Recording and Reproduction

Sound recording and reproduction is an electrical or mechanical inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Acoustic analog recording is achieved by a small microphone diaphragm that can detect changes in atmospheric pressure (acoustic sound waves) and record them as a graphic representation of the sound waves on a medium such as a phonograph (in which a stylus senses grooves on a record). In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into a varying electric current, which is then converted to a varying magnetic field by an electromagnet, which makes a representation of the sound as magnetized areas on a plastic tape with a magnetic coating on it. Analog sound reproduction is the reverse process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Electronically generated sound waves may also be recorded directly from devices such as an electric guitar pickup or a synthesizer, without the use of acoustics in the recording process other than the need for musicians to hear how well they are playing during recording sessions.

Digital recording and reproduction converts the analog sound signal picked up by the microphone to a digital form by a process of digitization, allowing it to be stored and transmitted by a wider variety of media. Digital recording stores audio as a series of binary numbers representing samples of the amplitude of the audio signal at equal time intervals, at a sample rate high enough to convey all sounds capable of being heard. Digital recordings are considered higher quality than analog recordings not necessarily because they have higher fidelity (wider frequency response or dynamic range), but because the digital format can prevent much loss of quality found in analog recording due to noise and electromagnetic interference in playback, and mechanical deterioration or damage to the storage medium. A digital audio signal must be reconverted to analog form during playback before it is applied to a loudspeaker or earphones.

Multitrack Recording

Multitrack recording (MTR)—also known as multitracking, double tracking, or tracking—is a method of sound recording that allows for the separate recording of multiple sound sources to create a cohesive whole. Multitracking became possible with the idea of simultaneously recording different audio channels to separate discrete “tracks” on the same tape—a “track” was simply a different channel recorded to its own discrete area on tape whereby their relative sequence of recorded events would be preserved, and playback would be simultaneous or synchronized.

In the 1980s and 1990s, computers provided means by which both sound recording and reproduction could be digitized, revolutionizing audio distribution. In the 2000s, multitracking hardware and software for computers was of sufficient quality to be widely used for high-end audio recording. Though magnetic tape has not been universally replaced as a recording medium, the advantages of non-linear editing (NLE) and recording have resulted in digital systems largely superseding tape.

Audio Editing Software

Audio editing software is software which allows editing and generating of audio data. Audio editing software can be implemented completely or partly as library, as computer application or as a loadable kernel module.

Wave Editors are digital audio editors and there are many sources of software available to perform this function. Most can edit music, apply effects and filters, adjust stereo channels etc.. with waveform editing views and many are freeware programs without any limitations.

A digital audio workstation (DAW) can consist to a great part out of software. are usually software suites composed of many distinct software components, giving access to them through a unified graphical user interface using GTK+, Qt or some other library for the GUI widgets.

Audio data can be characterized as digitized audio signal, cf. digital audio.

Mixing In Surround

Mixing in surround is very similar to mixing in stereo except that there are more speakers, placed to “surround” the listener. In addition to the horizontal panoramic options available in stereo, mixing in surround lets the mix engineer pan sources within a much wider and more enveloping environment. In a surround mix, sounds can appear to originate from many more or almost any direction depending on the number of speakers used, their placement and how audio is processed.

There are two common ways to approach mixing in surround:

• Expanded Stereo – With this approach, the mix will still sound very much like an ordinary stereo mix. Most of the sources such as the instruments of a band, the vocals, and so on, will still be panned between the left and right speakers, but lower levels might also be sent to the rear speakers in order to create a wider stereo image, while lead sources such as the main vocal might be sent to the center speaker. Additionally, reverb and delay effects will often be sent to the rear speakers to create a more realistic sense of being in a real acoustic space. In the case of mixing a live recording that was performed in front of an audience, signals recorded by microphones aimed at, or placed among the audience will also often be sent to the rear speakers to make the listener feel as if he or she is actually a part of the audience.
• Complete Surround/All speakers are treated equally – Instead of following the traditional ways of mixing in stereo, this much more liberal approach lets the mix engineer do anything he or she wants. Instruments can appear to originate from anywhere, or even spin around the listener. When done appropriately and with taste, interesting sonic experiences can be achieved, as was the case with James Guthrie‘s 5.1 mix of Pink Floyd‘s The Dark Side of the Moon, albeit with input from the band.^[8] This is a much different mix from the 1970s quadrophonic mix.

Naturally, these two approaches can be combined any way the mix engineer sees fit. Recently, a third approach, or method of mixing in surround was developed by surround mix engineer Unne Liljeblad.

• MSS – Multi Stereo Surround^[9] – This approach treats the speakers in a surround sound system as a multitude of stereo pairs. For example, a stereo recording of a piano, created using two microphones in an ORTF configuration, might have its left channel sent to the left rear speaker and its right channel sent to the center speaker. The piano might also be sent to a reverb having its left and right outputs sent to the left front speaker and right rear speaker, respectively. Additional elements of the song, such as an acoustic guitar recorded in stereo, might have its left and right channels sent to a different stereo pair such as the left front speaker and the right rear speaker with its reverb returning to yet another stereo pair, the left rear speaker and the center speaker. Thus, multiple clean stereo recordings surround the listener without the smearing comb filtering effects that often occurs when the same or similar sources are sent to multiple speakers.

Downmixing

In multitrack recording, multiple sound sources are recorded from separate microphones to individualized audio channels. Downmixing is the process of combining some of those audio channels. This task, which is also known as fold-down, is performed by a mixing engineer.^{[citation needed]}

Consumer electronics may also downmix automatically. For example, a DVD player or sound card may downmix a surround sound signal (four or more channels) to stereophonic sound (two channels) for playback through two-speakers.

Downmixing doesn’t just apply to audio signals. In radio communication, downmixing brings an IF signal down to baseband via demodulation with a complex carrier frequency.^{[citation needed]}

Stereo downmixes / fold-downs

Left total /Right total (Lt/Rt)

Lt/Rt is a downmix suitable for decoding with a Dolby Pro Logic decoder to obtain 5.1 channels again. Lt/Rt is also suitable for stereophonic sound playback on a hi-fi or on headphones as it is.

Lt = L + -3dB*C + -3dB*(-Ls -Rs)

Rt = R + -3dB*C + -3dB*(Ls + Rs)

(where Ls and Rs are phase shifted 90°)^[7]

Left only/Right only (Lo/Ro)

Lo/Ro is a downmix suitable when mono compatibility is required. Lo/Ro destroys front/rear channel separation information and thus a Dolby Pro Logic upmixer will not be able to properly extract 5.1 channels again.

Lo = L + -3dB*C + att*Ls

Ro = R + -3dB*C + att*Rs

(where att = -3dB, -6dB, -9dB or 0)

the role of audio mixing

The role of a music producer is not necessarily a technical one, with the physical aspects of recording being assumed by the audio engineer, and so producers often leave the similarly technical mixing process to a specialist audio mixer. Even producers with a technical background may prefer that a mixer comes in to take care of the final stage of the production process. Noted producer and mixer Joe Chiccarelli has said that it is often better for a project that an outside person comes in because:

“when you’re spending months on a project you get so mired in the detail that you can’t bring all the enthusiasm to the final [mixing] stage that you’d like. [You] need somebody else to take over those responsibilities so that you can sit back and regain your objectivity.”^[1]

However, as Chiccarelli explains, sometimes limited budgets dictate that a producer takes care of the mixing as well.^[1]