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Creekbottom Music Audio Services

Owned and operated by Randy Sulsar (that's me), Creekbottom Music offers a range of audio services. Below are descriptions of some of the services I can provide all or part depending on your needs. My gear is modern computer technology combined with vintage hardware. I also have available just about any additional equipment that I can provide through my vendor lease agreements and have access to many audio professionals if needed for larger projects. I can supply a microphone or produce a full professional quality CD project with some of the best session musicians working today. Email me at info@creekbottommusic.com or call (281) 435-8998 for a free consultation - you may be surprised at my flexible rates.



Recording


The recording engineer not only operates the recording equipment but also selects the type of input (direct input, microphone, single, stereo or any possible combinations). He is responsible for setting signal levels on all channels and supplies the appropriate submix if necessary for the performers to monitor during the recording process. He selects the microphones that best fit the recording application, determines their placement for best sounding results, provides an acoustically suitable space for the recording techniques used and maintains the session documentation.

Primary Recording Hardware List


  • Main Mixers - 32 channel Mackie, 24 channel PreSonus, 16 channel A&H
  • Extra Preamps - 16 channels UREI, 10 channels M-audio, 4 Mackie, 4 Focusrite
  • AD converters - 22 channels, DigiDesign, 26 channels PreSonus, 8 MAudio, Roland
  • Microphones - 30 dynamic, large and small condensers ( AKG, Oktava, Shure)
  • DI Boxes – 12 channels ProCo
  • Computers – 2 custom built multicore processors, dual monitors
  • Hard drive recording – ProTools, 18 channels, PreSonus 26 channels (128 max./session)
  • Effects - Outboard (Lexicon PCM) and “in the box” (see software below)
  • Signal - 28 channel 150’ snake, 22 channel, 100 ft, misc patch panels, XLR/TRS cables and subsnakes
  • Power - 100 amp distro box, 5 30 amp breakout boxes, conditioners, distribution cables, outlet boxes
  • Digital headphone distribution – 6 channels, 8 dual out control boxes ( Furman)
  • Headsets – 8 (AKG, Sennheiser)
  • Misc - mic stands, amps, speakers, SPL metering, submixer boards, plus plus
All my equipment is configured for either studio or for live recording. If appropriate, I can recommend other area studios and schedule sessions in them.

Mixing


After all recording is completed, the various tracks are mixed down to a stereo or surround mix. During this process, the mixing engineer works with each track routing them separately through hardware and/or software processors to optimize the final form in terms of balance or relative loudness of individual parts, panning or placement in the soundfield, equalization or placement in the frequency spectrum, dimension or effects, usually time based, and dynamics using compression and gating.

Primary Software


  • ProTools
  • Sound Forge Pro
  • Melodyne Studio
  • CD Architecht
  • Effects plugin bundles including
      IK Multimedia, Wave Arts, iZotope

Nearfield Monitoring


  • UREI amplifier, JBL studio monitors


Mastering


Mastering is the process of turning a collection of songs into an “album” or commercial master that is translatable to consumer systems (home stereo, radio, TV, CD player, mp3 player, etc). The mastering engineer is usually an audio engineer who specializes in mastering and maintains a studio equipped specifically for mastering. If budget allows, it is usually best for a mastering specialist to perform this task but it is sometimes done by the mixing engineer. The mastering process works with the final mix primarily to get the best tone using sophisticated equalization equipment for precise control over the frequency spectrum, the optimum volume so that the listener won't need to adjust the volume for each song, the appropriate timing between songs, and compression as required for commercial broadcast or as acceptable for that musical genre.





Producing


A producer is simply the project manager given responsibility to “produce” the final product. Whether he is producing a CD, a performance or other event, his responsibility is to deliver highest quality while holding to schedule and budget constraints. Several preproduction planning sessions or just one brief planning conversation may be needed to determine those constraints. The primary focus of the music producer, though, is on the music. He can guide or lead the song selection and arrangement, help establish musical parameters (key, speed, emotional mood etc.) establish rehearsal and recording schedules and the availability of any facilities, identify special mic or equipment requirements, confirm the recording approach (overdub or head-on, live or studio sessions,) identify, hire and prepare any session musicians and oversee and coordinate art preparation and product manufacture as well as many other related activities.



Live Sound


The live sound engineer needs all the skills required for recording and mixing as described above in addition to the skill to provide the front of house or FOH mix the audience hears. He may also provide one or more monitor mixes that the performers hear and sometimes one or more recording mixes that are routed to recording equipment - all in real time and on one or more sound boards. It is important for the engineer to understand how sound waves of different frequencies will behave in the acoustic spaces around the audience as well as on the stage. The speakers, amplifiers and other PA and monitoring equipment must be matched to the venue and musical genre to produce clean sound without unwanted distortion or feedback at an appropriate SPL, sound pressure level or "loudness".

Other Audio Services


  • Register music and musicians with
    - ASCAP
    - BMI
    - Library of Congress Copyright Office
    - SoundScan
  • Physical and digital music distribution
  • Music publishing
  • Website development
  • Transfer/restoration of recordings from
    - cassette tapes
    - 7" reel tapes
    - vinyl records
    - 8 track tapes, etc.
    to digital media
  • If you don't see what you want, just ask!

About Randy Sulsar


I have worked recently in a number of recording and mastering studios around Austin and central Texas on several projects, including Armadillo Productions' Taking Turns in addition to projects with my own equipment including Radio TeXXas Turn the Radio On .

I am a licensed mechanical engineer (Texas reg. #68209) ham radio operator and FCC licensed examiner (AB5UJ), former technology director and multi-discipline engineering manager for Fluor Corporation, summa cum laude graduate of University of Houston DC, lifetime musician, part time programmer, who loves everything about music. I got my first sound-on-sound recorder in 1971 and haven't given up yet.




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