Analog
and Digital Outboard
Processing Inward
Connections Discrete Class-A equalizers, limiters and filters form
the
heart of the high-definition processing on our console. Our Inward
Connections discrete-modified Prism mastering eq
also exceeds the ones in the gear line-ups
of
Stephen Marcussen, Ted Jensen and others
who's work is known the world over.
Add
in our custom high-end tube TSL-1 limiter by Inward Connections (used
by
Eddie Krammer, Chris-Lord
Alge and other world-class mixers), our Nautilus Master Technology
Commander Discrete Class-A Summing Mixer,
discrete-modified Prism MLA-2 compressor, Ampex
ATR 102 analog
machine and more are part of our world-class line-up of gear.
Our
analog console is complimented
by the Waves L2 digital limiter. Acoustic
Bit Correction™ gives amazing
punch and transparency through our
Lavry Engineering gear - which can also be found in Bernie Grundman's
and Bob
Ludwig's facilities, and more.
Prism AD-2, DA-2, ADA-8 24-bit converters (Sony,
Marcussen,
Masterfonics,
Sterling Sound, etc.), Apogee 24-bit
converters
(found at MCA, Doug Sax, etc.) and
more.
Separation
Mastering/ Traditional
Mastering: source computer The sound of our
mastering system is centered
around our analog equipment, yet we can also explore more options in
DAW
processing using surpassed UAD plugins. Your source files go
into Digital
Performer 7 with UAD software interfaced with a custom
controller. Super fast macro functions give us speedy control of
this
cutting-edge
mastering process.
Sequoia/Cube-Tec Digital
Mastering Systems:
destination computer Vestman Mastering
utiliizes the Sequoia/Cube-Tec mastering system. It include the POW-r™Word
Length Reduction Algorithm which
reduces longer word lengths while retaining a high degree of perceived
dynamic efficiency and very low noise. Some of the world's top digital
audio designers have come together as a team to create the most
transparent and dynamically stable
method of reducing digital audio word lengths.
For almost 30
yearsJohn Vestman has been into audiophile
monitoring
systems - right along talents like
Bob Ludwig, Ted Jensen and Stephen Marcussen. What John has been doing
for
years has finally caught on: Discrete Class-A playback pre amps feeding
an audiophile set of amps,
monitors and cables.This means you can hear more of
what's going on sonically - and so the mastering enhancements also
become pristine (and more commercially competitive).
The
monitor
system is truly the heart of a great mastering house. The discrete
Class-A Nautilus Master Technology DMC-8 is the starting point of this
high resolution system
which lets us level-match any source for accuracy that translates to
the real world. Our console
signal path utilizes specialized high-end audio interconnect cables and
connectors. For analog summing we use the Discrete Class-A Nautilus
Commander. Nautilus functionality and appearance design is by John
Vestman and electronic design by Inward Connections.
See the
Nautilus Commander in the video interview of
Matt Forger, who's engineering legacy includes Michael
Jackson,Stevie Wonder, Burt
Bacharach, Dionne Warwick, Carole Bayer-Sager and Quincy Jones.
When you see
the Rotel power amp you'll see a fascinating set-up that
looks quite different, but
sounds amazing. We use Mapleshade
heavy-hat weights, iso pads, cone points and maple platforms to
isolate it from quality-robbing vibration. We use both Mapleshade and
Virtual
Dynamics power
cords throughout the system to deliver extended response and detail. Think that power
cables can't possibly make any difference? Here's a white paper
with tests that show there positively is a difference. Another stunning
improvement comes from our balanced power devices from Equi=Tech. For
more info about clean balanced power, read this article.
Canadian audiophile
monitors by Mirage The monitors
are a bipolar design, which sound amazing in our RPG-style tuned room.
Audiophile monitoring is becoming more commonplace in
mastering studios. John's been using this kind of listening system
for almost 30 years - dating all the way back to his recording
studio
days. Check out our Studio Monitoring discussion
page for more insights about monitoring.
Key advantage: When we
process music, we continuously listen back to all the songs in the
client's album to reference how consistent the entire project will
sound from beginning to end. While there are many ways to get great
results, this method can be more detailed than methods used elsewhere.
"Thank you again for the
great job you did on our CD.
It sounds like a
kickin' album with mainstream and alternative radio written all over
it."
- Maureen Keller - Florida
