So Big Auditory
Analog and Digital Methods of Documenting Excellent Music
Who Am I?
My name is Andi, and I'm here to help you.
After years of experience playing in big bands, singing in church choirs, composing for and playing in classical ensembles, writing songs, touring the northeast, and studying music theory, I've developed a pretty functional method of making music.
I've also spent years behind a console, and have quite a few ideas around capturing it as well.
I'm here to share my experience and knowledge with others for an affordable rate so that the world can hear more great music.
I write music under the moniker "ther" and also play various supporting roles in Strawberry Runners and The Human Fly
Here are some collected recordings that passed through So Big at one point or another.
Other credits include works by
Deer Scout (OH)
Drama Section (NYC)
Don Forgetti (WA)
Future Interior (NYC)
George Cory Todd (CA)
Ghost Insurance (PHL)
Lost Dog (MA)
Mia Alma (MX)
Mother Moses (PHL)
Nine of Swords (PHL/NYC)
They Are Gutting A Body of Water (PHL)
Trees Take Ease (NYC)
Wes It's Fine (PHL)
Recording - 150/day (or 20/hr) for digital or 200/day for 8-track tape (30/hr with a 4 hour minimum)
Creating a set of recordings of music that can be mixed. Files can be delivered to automatically sync into any software at native sample rate and 32-bit floating point bit depth.
Mixing - 100/song or 15/minute of audio (depending on project)
Balancing, editing, comping, and otherwise manipulating recordings into a result ready for a mastering engineer. Stereo lossless files delivered at native sample rate and 32-bit floating point bit depth. Extensive revisions, stems, and multiple mixes of the same song provided at additional cost.
Mastering - 40/song or 10/minute of audio(depending on project)
Manipulation of a stereo lossless file of a completed mix to ensure it meets competitive commercial standards. There is a lot of mystery and misinformation floating around pertaining to what a mastering engineers job is, and different engineers will give you different answers and have different processes, but this is what So Big’s mastering criteria involves, depending on source material.
-Bringing the mix up to commercial loudness
-Fixing technical issues with a mix (such as unbalanced low-end, unusual sharpness) to ensure that the mix translates on as many listening scenarios as possible
-Adding slight processing (such as distortion, compression, stereo field manipulation, volume automation) to enhance and bring attention to the most important aspects of the mix/song
Mastering does not change the creative vision of a mix, but simply involves making it the best possible translation of the ideas behind the song and the mix.
Are you interested in booking time? Making a record?
Maybe you have some questions for me, or are unsure of what your next step is.
Whatever it is, you are welcome to send me an email.
Check out the blog for musings on recording, marxism, transcendence, and where they intersect.
Equipment isn't the make or break element of recording, but here's what's available
AKG C214 (2)
AKG C3000B -modded (2)
So Big Little Sister (Ribbon)
(2) Modded Samson C03
ART Pro VLA II (w/ Genalex Gold Lion Tubes) Optical Compressor
Ashly SC50 Blackplate FET compressor
Vintage Peavey PA-VI Reverb Mixer/preamp
Lexicon MX200 Reverb/Multi FX
Tascam M300 Recording/Mixing Desk
TEAC 80-8 Eight-Track 1/2" Tape Recorder
Fostex x26 Four-Track Cassette Recorder
Motu 2408 Mk II Converter
Audient id22 with 122db dynamic range conversion (for analog buss processing)
API Power Conditioning
2006 Telecaster with Flat-Wound Strings
Eastwood Sidejack Baritone
Yamaha Nylon String Acoustic
Epiphone Steel String Acoustic
Squier P-Bass Seventy-Three
Fender Hot Rod III w/ Jensen Speaker*
Modded Fender Champion 500
Peavey TKO (Bass Combo)
Orange Micro Dark (Head)
Vintage 70's Acoustic 4x12 (Cab)
Fender Bassman 4x10 (Cab)
Pro Tools 10