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PROFESSIONAL STUDIO SPECIALIZED IN
RECORDING, REAMPING, MIXING AND MASTERING
FOR PROG, ROCK AND METAL BANDS

WHO I AM

Hi! Welcome to the Tower Studio website!

I am Brett Caldas-Lima, a French professional producer. I specialize in the recording, reamping, mixing and mastering of prog, rock and metal music and have worked on records to this day. I am based in the South of France, near Montpellier, but can travel world wide for recording sessions. I also provide live sound engineering and have plenty of experience recording in that environment.

Being a musician myself (guitar player and vocalist for the progressive metal band KALISIA, but also bass player, programmer and arranger), I can easily relate to the fears, expectations and desires of my clients.

Do not hesitate to send me an email at kalisia@me.com if you have any question, need a quotation, or for anything else...

Thanks for visiting and see you very soon!

WHO'S WHO

RANDOM DISCOGRAPHY
WHO I WORKED WITH
WHO'S NEXT
* completed, awaiting release / artwork
WHAT THEY SAY

* Ok I admit he might have not said that about "me" specifically ;-)

MICROPHONES
MONITORING

Listening is very important when you work with sound (duh!), that's why I'm using the following monitoring systems:

BACKLINE

I have got access to a HUGE number of different awesome guitar and bass amps from:

I'm also using instruments from the following manufacturers:

And products from the following companies:

COMPUTERS, AUDIO SOFTWARE & PLUGINS

I'm using APPLE computers to get the work done, boosted with UNIVERSAL AUDIO cards, and elements from the following companies:

HITACHI - IBM - CRUCIAL - LACIE - CANON - MAXTOR - INTEL - HP - WESTERN DIGITAL - SEAGATE - SAMSUNG...

All my mixes are done in-the-box. My go-to DAW is PRO TOOLS but I'm also proficient in the use of DAWs from STEINBERG, APPLE, COCKOS... I use plugins from the following companies:

INTERFACES & PREAMPS
PREPARE FOR YOUR RECORDING

Here's what you'll need to do to prepare for a productive recording.

Get a pro to set up your guitars and basses. An instrument with poor intonation simply will not sound, feel or play as good as that very same instrument coming fresh from a decent setup. Your instrument is the sound source, and that source needs to be in good shape before we capture it. Please don't skip this step and don't rely on studio gear to automagically make a badly intonated $99.99 guitar with a chronic case of fret buzz perform like a guitar worth $3k. That isn't possible.

Drummers should bring new drumheads, the best cymbals they can afford, and fix any rattling noises or other weird sound anomalies being caused by their pedal chain. Fixing things like that during the actual recording sessions wastes time, and consequently wastes your money.

Remember, studio recording brings every instrument under the microscope, so get 'em fixed up. It's relatively cheap, and it's totally worth it!

Bring some spare drumheads, sticks, strings, picks etc. Having to call a halt to a session when there was a great vibe for a simple oversight like running out of sticks is always a downer, no matter how close the local music shop might be.

I can provide headphones for you but if you have a set that you particularly like or are used to, bring it on! This is especially true for you sweaty drummers ;-)

You'll need to do your homework. By this, I mean that you should know what your roll is (I can help with this if I'm producing), and most importantly, you need to be able to play the songs we're going to be working on in your sleep! Our task is to capture the essence of your performance, so brush up on the technical aspects ahead of time until you feel like you know the songs inside out. I promise you, there is no room for "is this the right note here?" or "what's the next riff there?" on a record that you'll be proud of in years to come.

PLAY WITH F**KING ATTITUDE even without an audience in the studio, because it does make a difference to your listeners!

Yes, I can and will help if you're struggling, but I'd rather not do the job instead of you. There is a tendency today to believe a computer can fix every bum note and do the hard work for you. I'll admit that this is true to some extent, but music (at least, music that I work on) should be played by humans and should not sound obviously quantized, autotuned or so "fixed" that it's lost its essence. Computers do not have a soul (not even Macs), they do not get goosebumps, they cannot love music like we do, so don't place the quality control of your music entirely in their "hands".

Plus, you will undoubtedly look like an idiot on stage if you can't play what's on your record anyway...

The above is just a 50/50 mix of common sense and advice that's built up over the years that I've been doing this. But I obviously will not force you to do anything you don't want to. If your vision supports the sound of an out of tune guitar with rusty strings, that's what we'll record. Hey, something good might come out of it as well, as there's rarely only one right way to do things. Experimentation is the way to be new and fresh.

LOCATION

I'm located in Montpellier, in the sunny South of France, 10km from the sea. I've established solid relationships with very nice studios around these parts.

Bands on a budget will usually find that the cheapest way to record with me is either to book us a studio in their area, set aside a room of their house, or rent a space for the duration of the recording sessions. I've made some pretty crazy places work - there have been sessions in garages, bedrooms, lounges, rooms behind bars, even a church...

That said, if you can afford it, a proper studio is always the best option.

When recording I use top quality gear from the finest companies: RME, Universal Audio, Audio-Technica, Audix, Neumann, Rode, Shure...

WHAT IS REAMPING?

Reamping allows me to take a dry, unprocessed, unaffected guitar or bass sound and send it through high-end amplifiers, resulting in a recording that sounds exactly as if the musician was plugged directly into that amp. The player must have recorded their parts by connecting the instrument into a DI unit (a Direct Input or Direct Inject buffer box) that was fed to a recording console or soundcard.

The most obvious advantage to the reamping technique is that it gives a musician access to amps they couldn't have afforded otherwise. It also places the duty of recording said amps into the experienced hands of yours truly.

Killer tone isn't just in your fingers, so put it in the right hands.

REAMPING YOUR GUITARS

I'm offering a guitar and bass reamping service for your music.

I have access to a VERY wide choice of amps from the most prestigious and best guitar amp companies in the world, including (but not limited to):

Mesa Boogie
  • Single Rectifier
  • Dual Rectifier (2 or 3 channels)
  • Triple Rectifier
  • Mini Rectifier
  • Road King
  • Road King II
  • Mark IV
  • Mark V
  • Stiletto
  • Express 5:50
  • Mark II
  • Electra Dyne
  • ...
Peavey
  • 5150
  • 5150 II
  • 6505
  • 6505 +
  • Triple XXX
  • JSX
  • XXL
  • Valveking
  • ...
Engl
  • Savage 120
  • Fireball
  • Powerball I & II
  • Invader
  • Blackmore Signature
  • Steve Morse Signature
  • Victor Smolski Ltd E646
  • E670 Special Edition
  • ...
Marshall
  • JCM 800
  • JCM 900
  • JCM 2000
  • JVM
  • Vintage Modern
  • Mode Four
  • 1959RR Randy Rhoads
  • AFD100 Slash Signature
  • 2203KK Kerry King
  • ...
Orange
  • Thunder
  • Tiny Terror
  • Dual Terror
  • Dark Terror
  • Rockerverb
  • Thunderverb
  • AD30
  • TH30
  • TH100H
  • ...
Randall
  • Satan
  • RM100 Kirk Hammett
  • V2
  • T2
  • RM100
  • RT100
  • ...
EVH
  • 5150 III
  • 5150 III 50w
  • ...
Brunetti
  • 059
  • Mercury EL34
  • MC2
  • Maranello
Fryette
  • Pittbull
  • Deliverance
  • Sig:X
Diezel
  • Herbert
  • VH4
  • Einstein
  • ...
Blackstar
  • Artisan 30
  • Series One
  • HT Stage
  • ...
Vox
  • AC30
  • AC15
  • TB35
  • ...
Fender
  • '65 Twin Reverb
  • Deluxe Vintage
  • Hot Rod
  • Bassman
  • Super-Sonic
  • ...
Laboga
  • Mr. Hector
  • Alligator
  • The Beast
  • Caiman
  • ...
Laney
  • VH100R
  • LX120RH
  • LV300H
  • ...
Carvin
  • Legacy Steve Vai
  • V3
  • ...
Hughes & Kettner
  • Switchblade
  • Tubemeister
  • ...
Budda
  • Superdrive
I have been reported that this page was a bit intimidating. Please keep in mind those are just GUIDELINES, friendly and common sense advices in your best interest to make working together as smooth as possible. You may have not collaborated with a professional mixer before and might not know what procedure to follow, so this is here to HELP you. I'm probably not the monster you think (I might be worse, haha).
PREPARE YOUR FILES FOR MIXING

So if you have already recorded, I do hope you have followed the recommendations on the right column. So the next steps before sending your songs to mix are the following:

Edit your tracks: your tracks must be edited (for example if the drummer's performance needs tightening) before sending them to mixing. If vocal tuning is needed, I can do that here as an additional service.

Clean up your tracks: remove unwanted noises, and send me the right takes. If it shouldn't be heard on the record, then you shouldn't be sending it to me without a very clear explanation of why it's been included.

If you used Virtual Instruments, bounce them to audio files.

Consolidate regions, items, clips or whatever your DAW of choice calls them, so that all files start at bar 1. That way, I'll just have to import the files and everything will be aligned perfectly at this end. This is the simplest way to transfer your material, even if some of the time it might mean that a guitar solo has 3 minutes of silence before it. You can use wav or aiff format.

Rename the files using a convention that makes sense and keep this format consistent throughout all your songs.

If you are on a Mac, label your files with colours, using a different colour for each category (drums, bass, guitars, keyboards, orchestra, vocals, misc).

If you can do me the favour of using the system I'm about to explain that would be awesome. Figuring out poorly named files takes up a lot of time. If you stick to my system, I'll be able to spend less time figuring out what's what and more time mixing for you.

I can't stress this enough: please make sure that you've included only the correct files and that nothing is missing. You should test each song by importing the files into a DAW and checking that everything's present and aligned.

If you recorded to a click, export the tempo map and any time signature changes as MIDI files for each song, and include those files. If there's just one tempo for one song and it's all 4/4 then just make a note of the tempo value.

Create one folder per song, then place any audio files you want me to use in a folder called "Audio" (remember that unused files must not be included). Create another folder called "DI" and put the guitars DI files there if applicable. On bass, the DI sound is widely used, so you can leave that in the main "Audio" folder.

If possible, include a rough mix of each song. I'll refer to it to figure out what's the main line, the lead instrument, where the emphasis should be, etc. If you don't have rough mixes but you know what you want sound-wise, make notes for me in a text file. If you're not sure what you want, but you are certain about things that you don't want, do the same. Of course, you can just leave all that up to my interpretation of the music. If I guess wrong, don't worry, nothing is undoable. Feel free to include an extra folder containing some songs from other bands that you like sound-wise. I'll keep that vibe in mind as I mix, but I'll always stop short of making you sound like a clone.

If your songs contain very complex choir parts, intricate 200+ tracks of samples, or heavily orchestrated sections, my advice is to premix those and send me stereo stems. Use whichever DAW you're familiar with to mix those parts in a separate folder called "Slave", include the original slave audio files in this folder with your DAW project file (in case I need to modify something in your premix), then put the stereo stem files in the main "Audio" folder. For instance, providing me with stems of "woodwinds", "strings", "brass", "percussion" is usually good for orchestral sections. Use the letter "s" at the beginning of those stem filenames as described above, so s1 Strings.wav , s2 Brass.wav etc are what makes it in to the main "Audio" folder.

And finally, tell me which song you want me to mix first. Choose one that's representative of your music, one that sets the tone for the whole collection of songs that I'll be mixing for you.

When you're ready, put all of those files on an external hard drive or a flash memory key (USB or Firewire). This is much faster and more reliable than burning to CD or DVD at both ends of the equation. Send the drive by mail. No matter what, always keep your own copy of those files in a safe place. Keep in mind that I will not send your drives back.

Once I receive the files, I'll work on the first song and upload a mix to my secure private FTP server. It will then be up to you to tell me what you like, what you don't like, and what I should change. Some mixes can take a few trials and errors before they'll meet your expectations (especially if you know exactly what you want), so don't be afraid to give me your honest opinion. The advantage of this unattended mixing process is that you will be able to hear the mixes in listening environments that you know well (your home studio, your car, on your buddy's hi-fi...). We'll systematically work through and hone each song to perfection in turn.

If you want to have your material mastered somewhere else, I will provide the unmastered mixes. Exported stems (separated mixdowns of your drums, bass, guitars, etc) will cost a small additional fee.

BEFORE YOUR RECORDING

If you're going to record in another studio or do it yourself, and you want me to mix the material, here are a few recommendations.

First, please read everything on the "RECORDING" page as that advice is just as relevant here.

Record in 24 bits. 44.100 kHz is just fine, but you can record at higher rates if you really want to. For Cubase users, even if you edited or recorded at a 32 bit resolution, don't send me those wave files! Convert them to 24 bits first please.

Take pictures of the recording setup and send some to me in a folder. Any knowledge I can gain of where microphones were positioned etc will be a big help at this end. Sometimes, a picture is worth a thousand words.

If you have the possibility, record the drum trigger signal for the drum kicks, snare and all toms. Just put a trigger on each drum, and plug the XLR out into the mixer / sound-card / whatever device you're recording with. No expensive drum module is necessary here, I'm only interested in the transducer signal (a click sound that occurs each time the drummer hits). Remember, sending me triggers doesn't mean that I'll automatically replace a kit sound you've worked hard to craft. It's simply that trigger recordings are always very helpful when I'm gating individual tracks, and if I do HAVE to replace anything, I'll be able to do it efficiently. Aside from the additional technical possibilities they open up, it's always good to have an extra record of the performance for security.

Tune those drums. This is very, very important! If your drummer doesn't know how to and nobody in the studio can help with that either, hire a pro to come and do it. Even another local drummer with knowledge of tuning can make a positive difference.

Please don't rely on me to fix dire tuning, pops, crackles, clicks, rattles or any undesired noise under the mixing microscope. Spend a little extra time to get it right on the way in. Get the sound at the source. It must sound good to begin with to sound great in the end. There's no magic, computers can't turn shit into gold, "I can't polish a turd" (...but I can spray paint gold over it").

Same applies to your performance.

If drum editing is necessary, be sure that's done before recording any other instruments, as the other players will instinctively lock in with the drums and the overall feel of the band will be better as a result of working in this order.

Check the tuning on your guitars and basses at all times.

Do not apply EQ or compression or anything else on the way in unless you're 100% sure that you know what you're doing.

Record a DI signal of guitar and bass tracks alongside your mic'd signal. This will be useful in case the mic'd signal isn't usable or doesn't fit. If you want me to reamp sounds (as an additional service), I will need those DI signals. If you're recording in a studio, the guys there will know what to do. If you're doing it yourself, take some time to learn about the subject as this is quite critical.

WHAT IS MASTERING?

Ok, I know that plagiarism is bad, but I found this article online which is clearer and better written than anything I could come up with, so...

Mastering is a technical as well as a creative process, the last step in the realization of your musical vision.

The program material is checked and corrections are applied if needed. The sound is balanced and enhanced in order to convey the best possible experience to the maximum number of listeners across a wide range of playback systems.

Individual songs are sequenced and seamlessly bonded together into an album like musical chapters in a book.

The combination of a set of experienced ears, and a selection of high quality creative and corrective tools in a revealing monitoring environment with the fine attention to details ensure your creative efforts are both competitive with other releases and ready for duplication.

Communication between the engineer and the artist or the A&R is extremely important in order to achieve a highly satisfactory result.

It is also very important to understand what happens during a mastering session and avoid some of the misconceptions and myths regarding this important step in the production process.

A mastering session can be generally speaking divided into two phases: checking for and correcting problems if needed and the production of so called “parts”. Listening through a very accurate monitoring chain will reveal problems or shortcomings that may have occurred during the mixing stage due to less than perfect room acoustics, not so accurate speakers or excessive tiredness. If those problems exist they will then be corrected with specific tools such as equalisers (used to create an even frequency balance), narrow band compressors (de-essing of sibilant vocals or taming of overly fizzy cymbals) and wide band compressors and limiters (used to glue the elements of a mix together).

Once the correct balance and the desired perceived level is achieved the songs are assembled into a sequence within the mastering workstation, PQ codes are generated, ISRC and barcode embedded if needed and a physical master (either CD-A disk or a DDP) is created and checked before being sent off for duplication or replication.

MASTERING YOUR MUSIC

I'm offering a mastering service for mixes I've worked on, as well as for mixes done at other studios.

You must provide me a stereo mixdown of each song (without fades) in the original resolution / sample rate they were recorded at. A DVD can usually contain these files... If you have thoughts on what you're hoping to hear from the mastering process, or things you'd like to avoid, add them in a text file. Also, feel free to include an extra folder with some songs from other bands and albums that you like (I mean the overall sound, not necessarily the music). I'll take a critical listen to those examples and keep them in mind as I work. Please make sure that any song references you include are Wav files, not lossy over-compressed mp3.

I master in-the-box, using the world's best mastering plugins from Universal Audio, Flux, Sony Oxford, Waves, Brainworx, Slate Digital, Mathew Lane...

Mastering in-the-box allows for automation and total recall of plugin parameters, so I can provide as many revisions of your first song as it takes for you to be totally satisfied.

I do not use presets during mastering and think it's a very bad idea to do so.

I do not charge for individual revisions or bill by the amount of hours I spend on your material as neither never really seemed fair to me. I mean, who can tell if a studio is charging you 5 hours for something that took them 2? At Tower Studio the price is set by the length of your material, so you can be certain of the cost beforehand - no nasty surprises.

Upon approval, delivery of the master will be made electronically using my private FTP server as 16 bits / 44,1 kHz wav files (one file per song).

I can also sequence your album. If you requested this, I'll deliver a DDP file that you can send straight to your pressing plant for duplication. DDP is the industry standard for master delivery, the safest method and is accepted by most reputable factories). With this option you will also receive a customised DDP Player software (Mac and PC compatible) that will allow you to listen to the audio, verify your DDP files, check CD Text, create RedBook compatible audio CDs, export wave files and much more. The normal value of this software alone is 59€.

If I'm sequencing, I will require you to send me the ISRC codes for each song and a UPC/EAN code for the album. The process of obtaining those codes varies from country to country, so if you're unsure about any of those terms, please Google them or ask your record company as soon as possible.

Physical copies of your master can be posted to you. I can provide DDP on a DVD, or good old-fashioned audio CDs in your mailbox if you'd prefer that (3 copies: 2 sealed units for the duplicators and 1 for your ears). If this is required, just let me know and provide a valid address.

I also offer the option to deliver your masters in High Definition for the Mastered For iTunes (MFiT) program, allowing you to get the best possible sound with as little sound quality loss as possible. I am an official Apple MFiT Provider so that means your releases will get better visibility on iTunes and can be badged and marketed as "Mastered For iTunes" (Apple gives better placement to those). These masters can also be used for other High Definition Digital Retailers.

Of course, any mastering studio can claim to make your mixes shine and take your money, but how do you know what they'll bring to the table? I've decided to offer a test master of one song (3 minutes max length) for a very small fee, so you can decide whether my interpretation is the right one for your music. If you do like my work and ask me to master the rest of the songs, half of that fee will be refunded.

Finally, a word on loudness. I can indeed make your stuff sound REALLY LOUD, but I'd honestly rather make it sound really good.

STEM MASTERING

For bands who want optimal results, or anyone who's aware that their mixes are not as well balanced as they would've liked, I'm offering a stem mastering option/upgrade.

Stem mastering is different from 2 track stereo mastering. Stem mastering uses a number of grouped instruments such as kick, snare, rest of drums, bass, guitars, keyboards and vocals.

This approach provides additional scope for me to discretely enhance specific subsets of instruments, more flexibility if there are any problems that slipped under the radar during mixing, and greater enhancement based on the summing of the stems. Additionally, standard stereo mastering processes are included. Stem mastering can produce subjectively improved sonic results.

It is worth clarifying some differences between stem mastering and mixing. Mixing relies on equalisation, fader and send automation, effects, tuning etc, and at times a heavy-handed approach to these aspects is used. Stem mastering takes a much subtler approach to EQ, dynamic adjustment and occasionally automation, but tuning and effects are a rarity at this stage. Essentially, it's another way to get the most out of that fresh set of ears in a highly linear monitoring environment by giving him some extra room to manoeuvre.

If you feel like your mix lacks width, depth, warmth, punch, glue, dynamics etc., then stem mastering might be the right choice for you.

How do you prepare your tracks for Stem Mastering:

Export your stems from exactly the same time code position in your digital audio workstation timeline so they will synchronize when I import them.

A good set of stems should "sum" or combine to sound virtually identical to the stereo mixdown when you import them.

Notes or pointers on any sonic issues that have been of concern during mixing such as "bass line sounds muddy, drums require more punch" could be useful.

Also please confirm any aspects of the mix you are happy with, so I can avoid changing things that you like.

MASTERING

Mastering rates are fixed as follow:

150€ if material is less than 10 minutes
200€ between 10 and 20 minutes
250€ between 20 and 30 minutes
300€ between 30 and 40 minutes
350€ between 40 and 50 minutes
400€ between 50 and 60 minutes
450€ between 60 and 70 minutes
500€ over 70 minutes

Revisions are free of charge until you are satisfied, within reason (my call, obviously) and within the limits of your source material.

Options:

Album sequencing - 50€, includes codes embedding and online DDP delivery + custom DDP Player software.
Physical delivery - 50€, includes 3 audio CDs or 1 data CD and shipping, requires album sequencing.
Stem mastering upgrade - 30€ per track, 200€ max per album.
Mastered For iTunes - 20€ per track, 150€ max per album.
YouTube Optimised - 20€ per track, 150€ max per album.
Additional versions (instrumental, vocal up, HD, vinyl, etc) - 20€ per track, 150€ max per album.
Multichannel Surround - Get in touch depending on the number of channels (quad, 5.0, 5.1, 6.0, 7.1, etc).
Test mastering - 50€ for a 3 minutes max song or extract (delivered in mp3). Half of this fee will be refunded if you like my work and ask me to master the rest of your songs (only if the mix is not or barely different).

Booking requires a 50% up-front payment or 100% if booked last-minute.

Prices include taxes, no bad surprise, no last minute extra.

REAMPING

Here's a formula to calculate how much reamping will cost: setup + [songs] + {options}

I setup

The minimum incompressible fare (setup time, amp setting, etc) is 100 €

II [songs]

I charge 40 € per song for the first 2 songs on the record.

Then, each two-songs, a discount rate is applied and doubled:
- 25% discount for songs 3 and 4
- 50% for songs 5 and 6
- 75% for songs 7 and 8
- 100% for the remaining songs

In real money, that's:
- 40 € / song for the first 2 songs
- 30 € / song for the next 2
- 20 € / song for the next 2
- 10 € / song for the next 2
- then free for every additional song

One song = approximatively 5 minutes max

Songs over 5 minutes count as two, over 10 minutes count as three, etc. If some of your songs are 5:30 or something like that, contact me and we will discuss it.

One record = 78 min max

Do not contact me with 4 hours of material hoping that only the first 8 songs will be chargeable and you'll get 27 songs done for free (it happened). As much as I love reamping, I've got bills to pay and a cat to feed. If you've got a lot of reamping to be done, or you want to share the setup time and amps with someone else, contact me and we can discuss that.

III {options}

a. Amps

The following amps come at no additional cost:
- Diezel Einstein 100
- Engl Savage 120
- EVH 5150 Stealth
- Marshall JVM410H
- Mesa Boogie Dual Rectifier Recto-Verb ('95)
- Mesa Boogie Mark V
- Mesa Boogie Road King 2
- Orange Tiny Terror
- Peavey 6505
- Peavey JSX
- PRS Archon

Any other amp requested is considered an option and costs 50 € (check for availability).

b. Multi amps

If you want to use several amps on a reamping, add 25 € per extra amp (in total, not per song).

Whether your guitars are dual or quad-tracked doesn't effect pricing. All in all the work time is roughly the same because: - dual tracked guitars will be recorded for you with two different channels (high-gain and a crunchier sound). You can use whichever sound you prefer, combine them or alternate them depending on the riff or the section of the song.
- quad-tracked are recorded with a sound in between those.

So you'll get 4 tracks back, even if you only provide 2.

If you want your quad-tracked tracks to be recorded with a high gain and a crunchier sound (you will then get 8 tracks back), contact me to discuss it.

c. Cabinets

Reamping is done via the Torpedo at no additional cost.

It can also be done with basically any other cabinet (Mesa, Engl, Marshall, Bogner, Orange, etc...) for an extra fee of 100 € for the first cabinet and 50 € per extra cab.

But honestly, no one ever complained about the Torpedo (and that includes pretty high profile professionals).

IV Examples

Here are some real life examples and applications of the formula.

- 2 songs / Diezel VH4 / Torpedo: 100 + [40*2] + {50} = 230
- 4 songs / 6505 / Torpedo: 100 + [40*2 + 30*2] = 240
- 7 songs / Engl Savage 120 + 6505 / Torpedo: 100 + [40*2 + 30*2 + 20*2 + 10*1 ] + {25} = 315
- 12 songs / Orange Tiny Terror / Engl Cabinet: 100 + [40*2 + 30*2 + 20*2 + 10*2 + 0*4] + {50} = 350
- 10 songs / Diezel VH4 + Mesa Boogie Mark IV + Peavey 6505 / Engl + Orange Cabinets: 100 + [40*2 + 30*2 + 20*2 + 10*2] + {50 + 50 + 25 + 25 + 50 + 50} = 550

If you're still lost about it (and you probably are), just drop me an email.

Booking requires a 50% up-front payment.

Prices include taxes, no bad surprise, no last minute extra.

MIXING

Every mix is different. So if you want to get a fair and accurate quotation for your project, please answer these questions in your inquiry email:

• What is the name of your band?

• Do you have a web site or a place where I could hear your music?

• Are you signed or independent?

• What type of music do you play?

How many musicians and which instruments are played on these songs?

• Do guitars need to be reamped?

How many songs will you want me to mix?

How long does your album last in total?

• Do you also want me to master your music?

• How it will be (or has been) recorded?

When do you want the mix to take place?

Seems like a lot of questions I know, but if I have all that info in front of me, you can be sure I'll offer you the best price and quickest turnaround that I can.

To give you a ballpark figure, album mixing (including reamping and mastering) usually costs somewhere between 1.500 and 5.000 euros.

Booking requires a 50% up-front payment.

Prices include taxes, no bad surprise, no last minute extra.

RECORDING
I don't have fixed rates for recording, so send me an email to explain what you're looking for. It's usually cheaper for me to come to you (travel expenses, accommodation and food for one person is obviously cheaper than five people). Give me as many details as you can, and let's see if we can make this happen.
CONTACT

The preferred contact method is simply by sending me an email at kalisia@me.com.

If you're writing for a mix quotation, since every mix is different I would need informations from you: What is the name of your band? • Do you have a web site or a place where I could hear your music? • Are you signed or independent? • What type of music do you play? • How many musicians and which instruments are played on these songs? • Do guitars need to be reamped? • How many songs will you want me to mix? • How long does your album last in total? • Do you also want me to master your music? • How it will be (or has been) recorded? • When do you want the mix to take place?
Seems like a lot of questions I know, but if I have all that info in front of me, you can be sure I'll offer you the best price and quickest turnaround that I can.

I answer all my emails, usually pretty quickly, so if you didn't get an answer from me within a week, something's wrong with the mail server or something, so please try again or contact me on Facebook.

LIVE SOUND ENGINEERING
I've been the soundguy for the following bands: Cynic, Devin Townsend Project, Sacred Reich, Hegemon, To-Mera, Malmonde, Mils, Bomb Scare Crew...
I've done live sound at some of the biggest European festivals, including: Waken Open Air, Hellfest, Prog Power Europe, Evolution Festival, Brutal Assault, Hole In The Sky, Alternavigo, Zwarte Cross, Metalheads Mission, Maximum Rock, Santo Rock-Off... And in the following countries: Australia, Belgium, Canada, Czech Republic, England, France, Germany, Netherlands, Hungary, Italy, Mexico, Norway, Poland, Romania, Serbia, Spain, Switzerland, Ukraine, USA.
DISCOGRAPHY

Use the Search field below to filter the table results.
(ex: type "mix" to show only records I mixed, "france" to show bands from France, "prog" to show Prog bands, etc)

You can also sort the results per column by clicking on the up/down arrows (please note that it may take a few seconds).

 Band TitleYearCountryStyleCreditsW
AUDIO

You can listen to some of my work using the black sticky player at the bottom of the website while you keep browsing this website for informations.
If you don't see the player at all, you might need to pause AdBlock (don't worry it's safe).

Or if you prefer you can do it directly on this page. Note that the current audio file will still be playing if you quit the page.
You can stop it either by returning to the "AUDIO" page and pausing the file, or by using the bottom sticky player.

Use the Search field below to filter the table results (ex: type "mix" to show only records I mixed, "prog" to show Prog bands, etc).

You can also sort the results per column by clicking on the up/down arrows (please note that it may take a few seconds).

For your browsing comfort, all tracks levels on this page have been set to a low volume.
You can adjust them all globally by clicking on the following desired value:  0%  10%  25%  50%  75%  100% 

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