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Q: What type of Digital Audio & MIDI system is used by NightWing Productions?
A: We use what we feel to be the most powerful and most compatible recording system available today. Digidesign's ProTools 24-bit hardware recording platform is employed for all digital audio multitracking and editing. We use Emagic's Logic Pro 7 for MIDI sequencing and editing because of its sheer power and flexibility. Digital Performer is also available for those clients who wish to use this platform for a specific purpose. In addition, we have a vast number of TDM plug-ins available for realtime processing of the digital data.
Q: How many tracks are available?
A: 96 discrete digital audio tracks are available
all with their own individual inputs and outputs. An almost limitless
number of "virtual tracks" are available for multiple
takes and edits, all of which are available simultaneously at
one of the 96 available outputs. Several audio tracks may share
the same output within ProTools.
The number of MIDI tracks is well over 16,000; plenty for the
most demanding of arrangements.
Q: What are the benefits of using ProTools over other Digital or Analog formats?
A: ProTools is the industry standard digital recording platform. Due to its ubiquitous presence the client is assured compatibility with other pro studios in addition to the assurance that the best possible digital quality is attainable. The benefits over analog recording are realized in the almost limitless editing possibilities, the random-access nature which eliminates seek times and the high resolution not possible with the limits of analog tape. Furthermore, archiving, storage and duplication on digital media is virtually immune to time-deterioration and generation loss inherent in analog formats.
Q: Why then do you also use the Analog format?
A: Simply because it sounds so good on its own accord. Many believe that the analog format excels at capturing "high impact" audio sources such as drums and bass. Also, there is an elusive artifact to recording onto the analog format known as "tape compression". This is essentially the effect of using the tape and the machine to drive the signal into saturation. Because 2nd order harmonics tend to be the most emphasized during this phenomenon, the signal appears to become "fatter", "warmer", "creamier" you get the idea. Analog recording tends to have its own "sound" which is in itself an effect. Many people swear by this effect and love it. We offer what people desire.
Q: I've heard that digital recordings can sound "cold" and "harsh", is this true? How important is the A/D and D/A conversion process and are some systems superior to others?
A: Unlike analog recording, digital recording
theoretically has no "sound" of its own. Rather, digital
recording is, again in theory, supposed to give back exactly what
you have put into it. Oddly enough, since the character of analog
recording's effect (such as Tape Compression) is fundamentally
absent from digital recordings, many believe the resulting sound
to be "thinner", "colder", "harsher"
from a comparative point of view. However, based upon the above
description of "tape compression" this lack of digital
recording is subtractive rather than additive i.e. we are perceiving
an absence of an effect in digital quality compared to analog
rather than digital having a lacking "sound of its own."
While this analysis of digital recording is based upon subjective
speculation at best, we nevertheless strive to attain the highest
possible fidelity out of digital recording by the use of superior
A/D and D/A converters. Because a digital recording is a binary
representation of an analog waveform, this signal must be converted
to a language that can be recorded by the computer system, then
converted back to an analog waveform to be heard as "music." This process
is called Analog to Digital conversion (A/D) and Digital to Analog conversion
(D/A.) It follows that the quality
of these A/D and D/A converters have everything to do with the
ultimate outcome of the digital recording. We therefore use the
best Apogee & Digidesign 192 I/O converters that money can buy that have subsequently
been designed to sound just as good, if not better, than the best
of characteristics imparted by analog recording. Where many A/D,
D/A converters cost as little as $50 per channel (which is reflected
in their sound quality) ours cost upwards of $800 per channel
and sound every pennies' worth as good. (Thank you for bearing
with that one!)
Q: What sample rate is best for recording music? Does NightWing Productions handle sample rate conversion if necessary?
A: DVDs are recorded using a sample rate of 96kHz at 24-bits (CDs at 44.1kHz, 16-bits). Because sample rate conversion is potentially detrimental to the sound quality, we try to maintain a 48/96kHz sample rate where possible. However, our conversion system does allow for "lossless" sample rate conversion when necessary so rest assured that your project originally recorded at either 44.1kHz or 88.4kHz all the way up to 176.8kHz is compatible with our system and can be handled easily. As for bit-rate, we maintain a true 24-bit wordlength all the way through the mastering process to ensure the highest possible fidelity through mixdown and any subsequent DSP processing of the digital data. Final conversion is done using Apogee's industry standard UV22 dithering process, POW-r or Waves IDR dithering - all of which capture near 24-bit quality onto the 16-bit format of all Compact Discs.
Q: Is it true that recording digitally lessens the noise level of my music?
A: Not exactly. Digital recording gives you pretty much exactly what you put in, so, if the source material contains noise then that noise will be reflected in the digital recording (NightWing Productions uses the finest gear and knowledgeable engineers to avoid noise being recorded with the source material.) However, the tape-hiss that is inherent to the analog format is indeed absent from digital recording.
Q: What is the main differnce between digital audio recording and MIDI?
A: Whereas the digital recording format records the actual musical performance, MIDI records information about what was played, when it was played, how it was played, etc., rather than recording actual audio data. It is for this reason that a MIDI recording can be completely changed and manipulated after it has been recorded e.g. changing a MIDI Piano patch recording to sound a Trumpet patch instead.
Q: Is it possible to Synchronize audio to video at NightWing Productions? What about syncing the analog and digital formats?
A: We offer extensive synchronization and automation capabilities through the central Macintosh computer system and through use of a Mark of the Unicorn miditimepiece AV. Sync options such as Wordclock, VTC, LTC, etc., are available with sample accuracy where applicable. Analog and digital audio may also be synchronized through SMPTE timecode when either more tracks are desired or the project necessitates the use of analog recording for a specific effect in addition to the digital format.
Q: What type of production assistance is offered by NightWing Productions?
A: We offer full production assistance with professional attitudes and results. We can provide assistance in the form of composition, arrangements, editing decisions and provision for studio musicians. Production assistance is an expense above and beyond the hourly recording rate.
Q: I have an idea for a song. Do I have to play all of the parts and instruments or does NightWing provide this type of assistance?
A: Brendon McDonnell, owner and primary operator of NightWing Productions, has over 20 years experience with guitar, keyboards, bass, drums and vocal composition & performance. In addition, we employ some of the finest local studio musicians when needed. We will do whatever it takes to ensure your musical vision is attained. Also, check out our Pro-Sequences for Performing Musicians.
Q: Why so much outboard gear? Why use, for example, outboard Microphone Preamplifiers from the late 1950's when your recording console has so many onboard?
A: Because they sound so darn good. Anything and everything for the ultimate improvement of the sound quality.
Q: Boy that console sure is big. Do you really know what all those knobs are for?
A: Yes! We pride ourselves in having comprehensive knowledge and understanding of the tools of the trade so we A.) Don't waste your time, and B.) Get the best possible sound for your project. You will never feel like your waiting on the clock as an engineer is trying to figure out which button to push or which knob to turn! You get absolute professional efficiency at NightWing Productions.
Q: What is Mastering?
A: Mastering is the final process of assembling your songs into the final album-playlist, matching song-to-song levels, applying overall sweetening by way of EQ and/or compression where necessary and whatever sample-rate or bit-rate conversion is necessary to deliver your project to the final the 44.1kHz, 16-bit CD format (or 48/96kHz, 24-bits of the DVD-A format). NightWing Productions offers full mastering services at a discount to our recording clients.
Q: What mastering formats do you recommend for backup and delivery to the manufacturing plant?
A: We can provide DAT Masters at both 16 and 24 bit-rates, CD-R and Analog Tape. We recommend a combination of the above not only for safety reasons but to ensure maximum compatibility with the duplication facility of your choice.
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