Nous mettons à votre disposition de nombreux materiels haut de gamme pour la réalisation de vos projets artistiques.
Notre cabine de mixage et mastering est à votre disposition pour finaliser vos projets.
The Audio Domain est aussi un studio d’enregistrement mobile.
L’enregistrement se fait sur le site de votre choix, le mixage et le mastering peuvent se faire chez nous par le technicien de votre choix ou par nous.
La location de materiel haut de gamme tels que pré-amplis, moniteurs de studio, micros, surface de contrôle, cartes de traitements DSP Fire Wire, carte son…
Let your ears go to The Audio Domain.
METRIC HALO ULN2 / PRESONUS CENTRAL STATION / TC ELECTRONIC POWERCORE COMPACT PACK MASTERING TC6000 / SSL DUENDE
En quelques mots , le mois de Mars est riche en actualité :
Finalisation de l’album 16 titres de Pierrot noir ,chanson française guitares et voix.
Philippe Levelly dit Pierrot noir, est accompagné dans son nouvel opus nommé « Epouvantail » par deux excellents guitaristes, Jaques Anidjar et Kevin Castana.
L’enregistrement, le mixage et le mastering de l’album ont été réalisés au studio The Audio Domain par Manu Borie.
Sortie du disque « Outrageous brune » de Sandie Trash.
Enfin l’album!
L’enregistrement, le mixage et le mastering de l’album ont été réalisés au studio The Audio Domain par Manu Borie.
Enregistrement Live de la nouvelle formule de « Hot gang ».
Prises de son en condition live réalisées à l’art scène, salle de concert située à Razac sur l’isle.
The drum set is generally considered the most difficult instrument to record well. One reason for this is that a drum kit is a hodge-podge of many instruments: typically four or more drums, a half-dozen or so cymbals, and any number of bells, blocks, and other percussion instruments. The resulting “instrument” produces a huge range of sounds. In terms of frequency alone, a drum kit can cover the entire audible spectrum, from the rib-rattling lows of a big kick drum to the shimmering, harmonic-rich highs of the cymbals. And don’t forget the snare and toms, which nicely fill out the mid-range.
The drum set is also capable of producing extremes in dynamic range: on the one end, the whisper of brushes; on the other, the potentially deafening pound of a bass drum. Add to that the challenge of integrating the sounds of so many disparate pieces. Although the drum set is considered a single instrument (based on how it is played), in terms of recording, it is considered both as one instrument and as many.
Is it any wonder, then, that the drum kit’s complex blend of sounds has given rise to so many different recording techniques? For those people trying to educate themselves about drum recording, the problem, ironically, is a glut of information: countless books, articles, and interviews, each with a different take, a different favorite microphone (typically one that is too expensive), and, of course, contradictory advice.
If that information overload has you in a pickle, you’ve come to the right place. The following “holistic” approach to recording drums simplifies the process, helping you get the best sound with the least amount of hassle (and gear). I assume you are a personal-studio operator working without an assistant rather than a professional recording engineer. You probably have only a handful of mics at your disposal, and you might be forced by space limitations to track in the same room where the recording gear is set up. No matter. This approach will help you get the most from the tools you have and capture a drum sound you can be proud of.
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dla2arev02schematic.pdf
