Professional Sound - December 2017 - Page 28

STUDIO 5 MASTERING SUITE A LOOK AT THE KEY WORKSPACES Studio 1 – Record/Mix • Neve 8048 Console • 20 x Neve 1093 Preamp/EQ Modules • 12 x Neve 1064 Preamp/EQ Modules • 1,200 sq. ft. Tracking Room • 5-Station Private Q Headphone System Studio 2 – Record/Mix • Solid State Logic 4080 G+ Console • 80 Inputs w/ Ultimation & Total Recall • 280-sq. ft. Tracking Room Studio 5 – Mastering • Analog & digital equipment, online mastering services Studio 6 – Record/Mix • Solid State Logic 9080 K Console • 80 Inputs w/ Ultimation & Total Recall • 5.1 Mixing Capabilities • 9-ft. Projection Screen & Sony Video Monitors • Dolby Certified • 550-sq. ft. Tracking Room For more information, including equipment lists for each studio, visit 28 • PROFESSIONAL SOUND shift environments like hotel rooms and buses, and they’re also building a studio into Drake’s new house,” Moore says. “We’re also able to adapt as audio styles transform in EDM and hip-hop, and we’re privy to the information from that front line, because of these rela- tionships.” And there are many others like Cadastre who’ve gone from MWI to working with some of the most prominent artists and engineers in the world. Many in the music and recording indus- tries cite the rise of digitally-dominated genres like EDM and modern hip-hop as another cat- alyst for the shift from large-scale commercial studios to their project or home-based coun- terparts; however, that’s another area where Moore and Metalworks seem to differ from the status quo. “Analog is still, and I think always will be, a big part of music production, and that’s especially true for more traditional genres,” he begins. “So when it comes to the equipment we’re using in our studios, it’s still going to be a blend of digital and analog. Those decisions about gear and software are really driven by looking at the market as a whole and deciding which tools the majority of creators are going to need.” In his experience – and, again, in what’s coming back to him from contacts in other places and parts of the industry – the creators from the bottom to the very top of the hip- hop and EDM production pyramids are looking for new sounds now that so many longtime staples (808s and MPCs, anyone?) are so heav- ily proliferated throughout their respective genres. In many cases, their approach is to sim- ply create their own samples from an analog source and sometimes using analog recording equipment. “There’ll never be enough tones and sounds in the world to satisfy creators and artists,” Moore tacks on, “so they’re al- ways going to be searching and recording new ones.” Moore and his team’s recognition and, more importantly, embrace of such trends is another core strength at Metal- works. Whether it’s policy or workflow or overall direction, they want to be as mal )́ͥ+q剽ѡӊéٕȁд)ݥѠ͍ͥѥٕ́ѡ)ɕѥ5хݽɭ̰ѡ䁭܁ѡɗe)ѡѼٕȁͅ䰁͔ѡ䁭)ӊéЁѼٕȁݕt5ɔ̰ͅ)՝QЁq ͔ѡӊéѡ݅)ݗeٔ݅́лt+q%ٕɽ́ȁѥѥݗeɔ)͕ݗeɔЁЁݥѠ܁ݗeٔ)Ս͙հѼхаЁѡ)Ёѡ́ݗeٔɱ䁽)ѡЁɽٕи%ӊé݅́)ɕѡѕt5ɔ̸ͅq$х)ѥ́Ё她Ѽɕєɕ)ѕ̸QЁ́́չєѕ)́́ݽɭ́ѕ)ѡٔt)!Ʌѕ́ѡаЁѡ)ٕɅͥ䁉յɥ镐)]ѕȵ٥]幔ɕé̀)ٕ͕սє胊qMєѼݡɔѡՍ)́ЁѼݡɔЁ́t+q%ӊéɕЁхȁȁ̳ͥtͅ)5ɔqͥȁͅѡЁӊé݅)ͽѡݔɥٔȻt)5ɔɕ́ѡЁЁѡɔ)ɽЁɕ́Չ͕Օѱ)ѼЁѼѡ́ɥѥѼ5х)ݽɭϊdՍ̸!ͼɕ)ѡає́啅́ɥ)ЁѡаЁѡ́а́х́ѡ)éɕѕЁ͕ЁѡЁɕɐ+q%ͽ䁅ͭa]ӊéѡ)Ѽѡd'eͅ䁥ӊéȁ)ݥѡЁՉлt)Ё5хݽɭϊdѠٕͅ)Ʌѥ̰ѡЁՔѡЁ5ɔ)́ѕɔݽɭ́ѡЁԴ)ɕͽɍ́䰁́)ϊdѕɅѥ́ݥѠѡȁѥɔх+qQ́́ɕ䁄݅ѕ͡Ё)̳t̸q]ݕɔɕѱѽ)ȁ!HձхЁѡаݡ׊eɔٕȀ)啕̰ԁ͡ձٔѕ!H)ȸQѡѡЁɹ́)ЁѡЁ́х)ɽȁх$݅ЁѼ݅ɽչ