Recompilations, restorations, and transfers all follow a similar format. They are each the act of taking sound from one media, and putting it on another. This can be cuts from one or more CD's, DAT tapes, cassettes, vinyl, or any combination thereof. The idea is that CD is a more permanent, easier to use format than, for instance, cassette, and often times, when one makes such a transfer, annoying hiss and noise can be filtered out to make the recording cleaner. In addition, it is an opportunity to improve the overall frequency response of the material (e.g. adding more low end to make the music punchier).

In the case of vinyl, special care must be taken so that the record doesn't wear out or become scratched. By transferring the record to CD, you preserve the original recording, while also having a copy to play and enjoy. Removing pops is easy to accomplish. These techniques are also useful in compiling "best of" CD's, and creating archives of past recordings.

Of course, any studio that records in multitrack format should also be able to mix the tracks. In conjunction with the high quality Allen and Heath console, Wiegmann productions also uses high quality effects from Alesis, Presonus, Lexicon, Aphex and more. The mixing is monitored on a pair of Genelec 1030 nearfield monitors to insure the most accurate control over relative volumes and eq. The tracks are then digitally copied into the computer, Mixed in Steinberg's Nuendo, a digital mixing platform with full automation and recallability. Save money and time by being able to edit from where the last session let off, rather than reduplicationg mixes from scratch. Then it receives its final polish in Sonic Foundry's Sound Forge, the industry standard in computer based mastering. Add to this the famous Waves plugins, Parametric eq's, level maximizers, compressors, and that makes for a powerful mastering suite. The end product is a CD, with the tracks laid out custom to the project, and a P. Q. list which the duplicator will need to accurately reproduce the project.

The Archive

The cheapie is exactly what the name implies—the least expensive option we offer for recording a live show. The format is straight to 2 track DAT (a Fostex D-5). We hook up to the 2 track out, tape out, left and right main out, or some combination of outputs that allows us to record the main front-of-house L/R pair. The tracks are then copied digitally into the computer, mastered (equalizing, adding reverb, bringing up levels, laying in track markers, etc…) and burned to a CD. This is good way to archive a show, or to evaluate your performance on stage, or put final tweaks on arrangements of songs. Occasionally, the tracks come out well enough mixed to be released, but mostly this is a way to archive a show. Because, for instance, vocals typically need more amplification from the sound system, they tend to be a bit too loud on the DAT. Likewise, bass guitar is often loud enough not to need much help from the P.A., and therefore tends to be a bit quiet on the tape. Some of this can be overcome in the mastering process, but for production works, 24 track on-site recording is recommended.