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We’ll fix it in the mix…
Frank Zappa: 
We’ll fix it in the shrink wrap!

A good mix can be described as follows: it has a balanced frequency spectrum, is dynamic – meaning it is not over-compressed – and sounds harmonious, natural, and pleasant to listen to. Each instrument has its place in all three dimensions: frequency, volume, and spatiality. Together, the individual sounds create a round, well-balanced overall picture. The arrangement of the music piece plays a crucial role in this.

The heart of the recording studio is an analog mixing console from Soundcraft (Soundcraft TS12). The mixing console dates back to the late 80s, is modular in design, and impresses with a warm “British” sound.

What’s special about an analog mix is that the sound appears more uniform and round than most digital mixes. In our experience, a finished music recording should undergo at least one analog signal processing step to achieve the necessary warmth and density. For purely digital mixes, we recommend analog mastering.

Depending on the requirements, we offer both analog and digital audio processing.

The analog signal chain in our studio is structured as follows:

  1. Conversion from digital to analog via RME audio interface.
  2. Sound processing via Soundcraft TS12 console.
  3. Analog inserts via various outboard equipment – depending on the desired sound, different compressors and effects units are available. You can find more detailed information here.
  4. Summing of individual signals through the Soundcraft TS12 mixing console.
  5. Recording of the mix via the RME audio interface.

A disadvantage of analog studio technology is the “recall” capability. Since settings on analog equipment cannot be “saved”, it is suboptimal to restore a mix once it is no longer “on the console”. To counteract this “problem”, we record so-called stems (sub-mixes) to archive the finished mix, so that we can restore it at a later time if needed.