are often times when audio needs more than simply the enhancements
of mastering . An
old analogue reel, for example, or an album of which only
a few vinyl copies exist; Vintage material from 78's or even
We are superbly well-equipped to deal with such projects
- we have the two most sophisticated restoration systems available
- both Sonic Solutions No-Noise (with de-crackle & de-click)
as well as CEDAR technology, both in it's rack-mounted form
and within our SADiE editing systems.
Our full complement of vintage equipment for playback; 24-bit
A to D converters for optimal transfer quality; mastering-calibre
monitoring in every studio, and in particular the skills
& experience of our engineers, have made us a respected
and successful facility for restoration of audio projects
of all kinds, from classic material by bands like The Small
Faces through dictaphone messages for legal purposes, to delicate
historic classical material.
We believe restoration requires great sensitivity
on the part of the engineer - just because we can remove
the hiss in a recording doesn't mean we should , for
example - especially if the recording looses "life" or "air"
as a result. Similarly, many restoration tools involve quite
radical processing of the signal - de-click systems are a
good example - and can at worst damage the original material.
An intimate knowledge of our equipment and it's capabilities
allows us to avoid the pitfalls of the process. An experienced
engineer develops his own strategies and methods - tricks
of the trade, if you like - which, along with an understanding
of the needs of the material, help achieve the best
We have been extremely successful at combining these skills
with the mixing and re-mixing process
when working on vintage material - recent examples include
Fleetwood Mac and Deep Purple - because of the unique range
of skills SRT can offer, the mixing and mastering engineers
can collaborate at every stage.
Williams , one of SRT's Senior Engineers, has built up an
enviable reputation over the last few years for his work remastering
back-catalogue material for specialist collector's labels;
a very discerning market. "Is it difficult switching between
working on new and vintage material?"
"Not really, in fact the variety is one of the things
that makes the job so enjoyable - it keeps you fresh. And
of course every recording is unique anyway, whether new or
old. You have to make the same judgments, figure out how the
producer wanted it to sound on the domestic systems of the
time, and make it sound the same way on the midi and hi-fi
systems of today. What makes back-catalogue so enjoyable to
work on is that some of those recordings have such a great
sound; a depth and realness to them that people find difficult
to achieve these days."