The
Engineer - Tom Blain
"In
deciding to focus my recording career on mastering, I feel
fortunate in being able to bring a wealth of musical experience
to that discipline. I am a musician, and have performed on
a number of my client's projects. I have also tracked and
mixed scores of recordings and have a keen understanding of
that process. In the sometimes technical arena of mastering,
my musician's ear has been a helpful 'reality check'. Having
realized the potential of hard disk editing early on (purchased
a Sound Tools system in 1991 - the precursor to ProTools!),
I continue to embrace current and emerging digital disk based
technologies in my work."
"Thanks also for
the mix and mastering of 'this that'. It sounds beautiful, as have
all 10 projects that we have done together."
.
-- Scott Fields, CRI Recording Artist, and New Music Composer
"My experience extends
from over 15 years in the professional audio field. I had the
good fortune to work with producer Butch Vig (Garbage, Nirvana)
on some
editing and mastering of radio and MTV mixes for the likes of
Sonic Youth, U2, and Depeche Mode. I've logged countless hours
editing and mastering projects for musicians and composers involved
with the Milwaukee Symphony and the University of Wisconsin
Music Faculty, and have mastered numerous projects for avant-garde
jazz composer Scott Fields. In the 1990's, I was the Technical
Director for Michael Feldman's "Whad' Ya Know?" show
- a live broadcast heard coast to coast on Public Radio."
"When Tom Blain is on the job, nothing (even things that should be) is
impossible."
.
.
-- Michael Feldman
"I believe
I have a special affinity for mastering, particularly within
the loose genre of acoustic music; classical, folk, and jazz.
These projects are often independently produced, of great musical
merit, and in need of quality mastering. A major goal of Ultimate
Audio is to provide independents with an affordable, memorable,
first-rate mastering session."
"You answered all of our questions pertaining to overall dynamic level and why an acoustic recording shouldn't sound like Pearl Jam (not that we wanted it to). You helped to get the low end just right , Mike's guitar strumming kept all the pick without adding harshness, intros and endings were made just right, and the overall sound was improved through mastering in ways our ears didn't think possible!"
.
.
-- Bill Soloman, bassist - Yid Vicious
You
can contact Tom directly at: uamaster@sbcglobal.net
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