Engineering Considerations

We have put together some areas of specialty that may help you determine what is needed to achieve your goals.  When in doubt, call us at 303-570-3264, we want you to have all the data to make a high-quality decision about your recording.



Finding a great engineer can be a difficult task.  That is why we understand your need for choice.  We are always seeking great engineering talent.  If you think that is you, please send us an introduction – be prepared to show your ProTools speed, knowledge and some of your finished recordings (send to ).



You do not want to sound like you are recording from a USB microphone inside of a cave.  Been there, done that you say.

A bad recording creates a poor impression of you and your work.  Your brand is your sound, allowing your music to be meager transmits this quality to your personal or business brand.  We recognize that you want a recording that makes you sound best.  So we ensure you have an engineer for recording your instrument that’s either played it or has recorded it hundreds of times.

We have professionals on our team who have advanced university degrees in Piano and Guitar.  They can help double in the role of music production because of their broad knowledge of your instrument. NOTE – if you aren’t sure what to ask when trying to determine the quality of a studio, ask for a recording of vocals and acoustic guitar (these are some of the hardest things to record and make sound great).

Microphones particular to what is recorded is critical too.  Recently we recorded some vocals using a Blue Bottle (our library of Mics includes all the caps to this premium input device) that were being mixed by Randy Staub (Juno Award winner) at The Warehouse Studio in Vancouver.  He wanted to know what was used to record the vocals in the mix he was working on, commenting to our owner “it sounds great!”  You might ask, “why are you talking about other studios, aren’t they competitors?”  The simple answer is that when you want the very best and are willing to pay for it, then you should work with a studio who knows the best and how to integrate them into your project.

Our microphone collection includes the best of the best and amounts to almost $100,000 in investment to ensure you have that one mic that will allow you to make your magic.



You want your movie, training, and presentation material to stand out from your competitors.  The audio post requires experience in audio post production which ensures your speaker sits directly inside the head of your customers and prospects.  Denver recording studios can typically handle these jobs, but do they have engineers trained and experienced in the art of voiceover?  You may also want to add musical elements that require the help of a publisher (we are a publisher with several musicians under contract).  Anyone who has recorded themselves knows how different they sound from what they hear inside their heads.  The voiceover is a unique skill that requires specialized training as well as a unique and powerful voice.  As a full-service recording studio, we deliver engineers who understand voiceover.  Our engineers have recorded non-fiction business books, training materials in the biosciences area, and TV series Audio Post.  We recently added a 5.1 surround sound using 5 Focal CMS40 Drivers which adds to the studio’s already impressive SM6 stereo monitors.



Most records need some post production before mixing.  Post production is a process that can be skipped when time or money is an issue or can use more time than any step in your recording.  You must decide how much you wish to make your recordings “perfect” (i.e. removing any pops, clicks, etc….aligning individual recorded tracks to lock everyone into a single groove).  Our studio has 32 pre-amp inputs – meaning we can have 32 live mics going at one time (e.g. Drums need a lot of mics to get them just right, we have multiple inputs from our Yamaha grand piano to the board, and usually add one or two more).  Some will find this is overkill and to an untrained ear it probably is.  But, if you plan to submit your music for licensing, a film for an awards festival, or just about anywhere a trained audio engineer is present it is needed.  The type of person that will hear if this step has been completed or not is integral to radio, publishing or anywhere audio is present in a professional setting.  In other words, you can’t skip this if you are selling your material to a profession who knows sound.  If you were to try, you will see that they demand this level of perfection.



This step is where your engineer will add elements to enhance your music and bring together all the recorded tracks into one sound image for listening (last step before mastering).  Some will think that the raw recording done with excellence is enough and just what they want.  But, others want that large hall sound, or that crunchy guitar sound, or….the list is only limited by our outboard gear (over $300,000 invested, includes the best of the best like API, Vintech, Universal Audio and SSL), or software plug-ins (we have several hundred and still adding).

You may know of a recording engineer that specializes in your are of music or sound production.  Invite them in, we have guest engineers regularly and encourage them to bring their “special rigs” to plug into our system.



Might you want to master your recording by sending it to one of the low-cost options available on the internet? The results for the money make your decision seem questionable?  Mastering is partly the process of enhancing frequencies to draw them out of the mix.  You can typically hear the difference when mastering is done or not by the levels of volume (higher peaks in a mastered recording – way oversimplified of course).

Another part of the mastering process involves data written to the disk.  One element is ISRC Codes that are embedded into your master. They identify your material on the internet, for publishing purposes, so you need to ensure your music is associated with you, when uploaded to online services.  An ISRC code also ensures you are get paid when your recording gets played.  We can help you understand how this process is set up through ASCAPBMI, and SESAC – that last one being the European-originated firm.

Mastering Studios and engineers are different animals from recording/mixing engineers and studios.  We can do the basics, but for anyone that want’s better we refer the job out to one of two that we’ve found do a good job for the money.  We also work with a studio and engineer in NYC who’s one of the best – his rates are much higher, but if you must have the very best, we can help you get set up with them.

You may think that a full-service studio should do everything for you.  Most quality studios will try to do just about anything that you ask.  However, understanding a few simple concepts like rough tracks, demo recordings, and final tracks can save you lots of money, time and recording engineer headaches.

For those who are interested in these topics, check these links to get started on being prepared before you book your studio time:

Demo – Wikipedia, the free encyclopedia

“Five Mistakes Songwriters Make Before Demoing Their Songs (and how to avoid them)” – from BMI’s website, Posted in Songwriter 101 on April 20, 2011, by Cliff Goldmacher

DIY: Taking Your Tracks from the Studio to the Club – from, published BY KENT BARTON ON SEPTEMBER 26, 2011


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