| opposite Neasden tube | 20 minutes from the West End | free off road parking |

Welcome to Revolution Mastering; a high-end independent mastering studio. It’s our job to maximise your music’s dynamic audio potential across all formats.

Our excellent acoustics are a ‘no compromise’ design by Munro Associates allowing us to evaluate your audio in the most precise environment, custom designed specifically for mastering. And thanks to ultra low noise a/c and extensive use of the machine room we can boast one of the quietest monitoring rooms in the U.K.

Our Engineers: With a huge array of outstanding tools at their disposal, our engineers deliver the biggest sounding masters with expansive imaging and startling clarity. With over 10 years experience in mastering our head engineer NICK BENNETT has worked with a wide range of artists, producers, Labels & major record companies across all genres of music. Resident mix engineer GREG FRENCH managed & mixed in Irelands best SSL facility, Westland Studios, Dublin for the past 6 years and is signed to a major label as an artist himself.

Studio Services: Vinyl Mastering, CD & Digital Mastering, Dub Plates, Stem Mastering Radio Editing, Restoration (de clicking, de noising etc) w/ cedar, Mixing on ProTools 8 HD3 rig and Overdubbing for both Vocal & Instrumental. Production Services: Compiling/PMCD Creation, Vinyl Manufacturing and CDR Short Run production (to 200 units).

For a comprehensive price guide for all our services, please click on the green switch above.

PRICEGUIDE

| opposite Neasden tube | 20 minutes from the West End | free off road parking |

We encourage all our clients to attend the sessions but we appreciate that this isn’t always possible. But you can relax in the knowledge that your work is in safe and experienced hands. We pride ourselves on providing a personal and efficient service; one that results in an end product of the higest quality. Quality that our customers can testify to. Artists: Jamiroquai, StoneBridge, Kings of tomorrow, Junior Jack, David Guetta, The Egg, Mylo, Armand Van Helden, The Brilliant Things, Freeform Five, Dj Gregory, Les Rythmes Digitales, X-Press 2, Jon Cutler, Bent, Degrees of Motion, Afro Medusa, Deadmau5, Hoxton Whores, Bob Sinclair, Dj Sneak, Duffnote, Steve Mac, Cevin Fisher, Kid Massive, Kid Cudi, Steve Angelo, J Magik, Timo Garcia, Delinquents, The Brilliant Things, The Hours, Gus Gus, Richard F, Dee-Lite, Late Night Alumni, Guy Robin and Dj Deekline.

Labels: Ministry of Sound, Data Recordings, Distiller Records, Hed Kandi, Prime Distribution, Play Records, All Around the World, Raw Productions, Drop Music, This is not an Exit, Zedd Records, Tool Room Records, Music Rights Collective, Music Response, Raw Productions, Hudd Tracks, Wrong Music, Play Records, Big Love, Berwick St Records, Artizan, Cheap Records, Hard2Beat, Tidy Trax, 3Beat, Tonality, Mb Disco, Wiggle and Subversive.

Breaks: Funkatech, Z Audio, Hardcore Beats, Rat Records, Giant Pussy, Booty Breaks, Hotcakes, Reconnected and Valium. Techno: Traffic Records, Riot Records, Electronik London, TrippleVision, Icon, Imo, Lactik Records, Subcult Records, Aphex Recordings, Evolution, H-Room, Cesirias, Deathsucker, Noisetek, Waveshape Recordings, Quash Records. Dubstep And D’n’B: Ray Keith, Black Market Soho, Nu Urban, SRD, Dread Recordings, Exodus Music, On the edge Recordings, Audio Phreaks, Southside, SS Dubstar, Malpractice and Dubsteppers. Rock / Pop: Universal Music, Sony, EMI, AGR, Sound Performance, Key Productions, J Star and Spokes Records.

MAP

Studio Equipment Technical Specifications

Monitoring: PMC BB5 Active system with Bryston amplification / Adam A7 nearfields / Coloursound Custom transfer console.

Equalisation: Manley Massive Passive / Klein + Hummel UE400 / Maselec MEA-2 / Massenburg DesignWorks Hi Res EQ (System 6000).

Compression & Limiting: Manley Variable Mu / Alan Smart C2 / Audio & Design Compex 2MD3 & MD4 (System 6000) / Brick Wall 2 (System 6000) / Waves L2 .

Digital Processing: TC Electronic System 6000 / TC Electronic M5000 / TC Electronic Finalizer / Z Systems 16.16 digital router.

Conversion & Clocking: Prism ADA-8 (up to 24 bit /96khz) / Benchmark DA1 (to 192 khz) / Benchmark AD1 (to 192 khz) / Apogee Big Ben master clock.

Source, Editing & Destination: HHB CDR 830 / Tascam DA-30 Mk2 / Sony MDS E12 minidisk recorderPro Tools HD3 (2 x 192 & sync) with tons of plugins / Sadie 5 w/ cedar noise reduction (tons of plugins)Studer A80 MkIII ¼” tape recorder.

Vinyl Cutting: Neumann VMS80 lathe w/ Sal 74b cutting amps (modified – super low noise floor) / SX74b cutter head / SW Davies RDL .

Voice Over / Over Dub Booth: Mics – Sony, Neumann, SE Electronic, Shure, AKG etc. / Focusrite ISA One pre / TLA Ivory 2 valve pre.

| opposite Neasden tube | 20 minutes from the West End | free off road parking |

Handy Tips For Better Masters

Leave plenty of headroom; especially when working at 24bit word lengths. There’s no need to max out your mixes using limiting or shredding unless the artistic aim is compromised without such processing. Aim for –3 to –4 db to leave headroom for the mastering processing. You will achieve a much punchier & dynamic master if you do. If in doubt send two versions of your mix – One with master bus processing and one without. The mastering engineer can use your ‘mastered’ version as a reference and re-master it from the untreated version to achieve a better result for the intended format.

Clearly label your files / tapes to include such information as:Artist & track title / mix nameCatalogue numberISRC CodesUPC / EAN codeBit Depth & Sample frequencySequencing order on the releaseAny special instructions / other metadata to be embedded (notes on fades / segues etc.) If in doubt about levels of key elements in your mix (say lead vocal); provide alternate mixes. ie vox up, vox down etc. Usually a half db in either direction will cover most needs. Synchronised stems also give a lot of flexibility at the mastering stage. A vocal may need de-essing and this can be applied to that stem only rather than the whole stereo mix.This is a better way of tackling problematic mixes and can save a great deal of time & expense. Always run off stems – it may save having to book a mix studio for another day when you realise you need to remix a track! And For Vinyl...

Remember – The longer the side length – the less overall level the record will have. That’s not to say we can’t produce wonderful sounding 20 – 25 minute per side albums. It’s just that they won’t sound anything like an 8 minute club track cut at 45rpm. As a guide, here at Revolution, we generally aim for:

12” Up to 8 minutes long: 45rpm up to +8/9 db over 0VU12” 8 to 12 minutes long: 33rpm up to +5/6 db over 0VU12” 12 to 16 minutes long: 33rpm up to +3/4 db over 0VU12” 16 plus minutes: As loud as we can humanly make it but generally in the +2/3 db ballpark.

| opposite Neasden tube | 20 minutes from the West End | free off road parking |