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| Ed Littman's Studio Details
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Why you should choose Yeahman Records to MASTER your next album or demo:
Mastering engineers and recording artists Ed Littman and Joel Katz have 50 years of combined experience.
E-mail: Click To Send E-mail
Web site: edlittmanmastering.com
Main purpose: Other
Secondary purpose: Other
Recording knowledge level: High
Typically work (with): Alone
Completed songs/demos/jingles: More than 100
Future plans: Why use Ed Littman Mastering?
With an extensive knowledge of producing, performing, composing and teaching, Ed Littman has the ears, the gear, and the commitment to satisfy even the most critical clients. Of course he’s a critical client too! Mastering engineer and Guitarist/Composer Ed Littman has been involved with making and processing music for more than 25 years. As a Guitarist and Composer he has released several albums under his name that have received critical acclaim, and has done hundreds of performances throughout the New York area. As a Mastering engineer Ed has been recognized by some of the music industries most talented people as someone who brings a total commitment and artistry, along with an impeccable sense of detail to assembling and mastering an album.
Guitars: Kay Old craftsman red double cutaway
electric guitar w/bigsby
Kay sunburst single cutaway electric guitar Custom tele electric guitar
Cutom strat guitar
Dobro steal guitar
Lowden o32c acoustic guitar
Gibson melodey makerw/humbuckers
Harmony bass guitar
Percussion: 1969 Gretsch 5-piece drum kit
plus an assortment of latin percussion
Effects: EQ:
Crane Song IBIS Mastering Stereo Discrete Class A EQ
Algorithmix Linear Phase red & orange EQ
Waves Linear Phase EQ
Waves Renaissance EQ
Dynamics:
Crane Song STC-8 Compressor/Limiter
Chandler LTD-2 Mastering compressors(Sterling Mod)
Waves Renaissance Compressor
Waves C1 Compressor
Waves C4 Multi band Compressor
Waves L2 96k Digital Limiter
Misc.
Maselec Mds-2 De-esser
Dangerous Sum & Minus
Dorrough loudness meters
Sennhieser HD600 & 650 headphones
Very Cozy Couch
Cool 70’s lamp
Microphones: 2 Scheopps 221b tube
Neumann u67 tube
Audio Technica 4033
Shure sm81
3 Shure sm57
Shure sm58
2 AKG D112
Mixer: Gorden Clark custom discreet mastering console
(As used by Electric Ladyland, Mercury Records & The Record Plant)
Ramsa WR-T820 mixing board
4- Neve 33421 mic preamps
2-Telefunken v72 mic preamps
Tape decks: Transport:
MCI JH110C Master 2 track-Takes 14” reels!
7.5/15/30 IPS with 1/4 and 1/2" Head Blocks
Teac A-3300sx 7.5/15 IPS
Sony TC-225 1.7/8, 3.3/4, 7.1/2 IPS
Plextor Plexwriter Premium CD-Rom Drive
Plextor PX 504 A DVD/CD-Rom Drive With Plextools
(Error checking software that confirms A Quality Master Every Time.)
Tascam DA-45hr 16/24 bit DAT Machine
Sony CDP-11 CD player
Sony Minidisc MZ-N707
Nakamichi BX-100 Cassette Deck
Technics M-22 Stereo Cassette Deck
J.A. Michell Orbe Turntable
Hard disc recorders: Apogee PSX 100 AD/DA converter with UV22, Alesis Masterlink
Monitoring system: Monitoring:
Dunlavy SCIIIA Reference Standard Loudspeaker
Coleman M3ph 28 Position Stepped Attenuater
Power:
Bryston 14B (600w per side)
Ear 834P Tube Phono Stage
Furman IT-1220 Balanced Power Transformer
Furman Ar-1220 line voltage regulator
Computers: Analog to Digital converters:
Lavry AD 122-96 MK111 (Gold)
Cranesong Hedd 192
Digital to analog converters:
2- Mytek Stereo 96 DAC
Routing
Crookwood Custom Analog router
Z-Systems Detangler Digital Patchbay
Computer/Editing/Restoration:
Two Very Stable Custom Computers with Windows XP
Wavelab 6.10 DVD-A
Samplitude 8.3
Protools 7.0
Algorithmix-Noise Free & Scratch Free
Sony Vegas
Sony DVD architect
Sound Cards
RME HDSP AES-32
RME HDSP 9636
Other equipment: EQ’s - Pultec- EQP1a, EQH2, EQP1A2, API 550a, Lang PEQ2A,Manley Massive Passive, Telefunken w395, Orban 622B
Limiters/compressors - Manley Vari-Mu, FMR Audio RNC1773RCA- BA6, Emperical Labs Distressor, R&S U23, Telatronix - LA2-A; URIE 1176 black face
Comments: Why you should choose Yeahman Records to MASTER your next album or demo:
Mastering engineers and recording artists Ed Littman and Joel Katz have 50 years of combined experience.
With an extensive and deep knowlege of producing, performing, composing, teaching, recording, mixing, and restoring analog and tube equipment, we have the ears, the gear, and the commitment to satisfy even the most critical clients. Of course we're critical clients too!
It's common to think that once you have mixed your stereo pre-master, the job is FINALLY DONE. WRONG! That's not quite the end. If you're recording an album or demo then the tracks have to be sequenced in the right order, with the right spaces between them, with appropriate fade-ins and outs and at the correct output levels.
One of the problems with pre-masters is that most require further work on the tonal balance. To get it phat and punchy, clear and dimensional, yet keeping a natural balance between instruments you need a variety of top quality equalizers, compressors/limiters and a monitoring system that you know to be accurate.
After you supply us with detailed instructions (as to which mixes to use, order of songs, and song spacing), we listen to your project to see how much needs to be done. At this point either Ed or Joel or both will use his talents to complete your project. (always keep safety backups of mixed pre-masters).
At the end of this process you will receive a reference CD. Take this back home, so that the music can be played in a familiar surrounding. Within 3 days from receipt of the reference CD, you should decide if any changes need to be made. Finally, we will make any adjustments you need to achieve your goal, and supply you with the final master and a safety backup ready for manufacturing.
We guarantee that all our masters will be slammin'.
We can also make CD copies for you at a reasonable cost, just in case you need a couple copies right away.
Fees are very competetive and on a per song basis so you will know the final price from the start.
Call today to set up your session & FREE sample CD (212)-479-8426
If you are Ed Littman and you want to update your listing, click here.
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Vol. 16, No. 6: Apr.-May 2012
