Midas Touch Studios
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About
Midas Touch Studios is a recording studio in Perth located 15 minutes from the CBD. Despite its central location, Midas Touch Studios boasts the most comfortable studio atmosphere you'll likely experience. Huge north facing windows let in plenty of light and views of Midas Touch Studio’s lush garden.
Proving that great sound and great visuals aren’t mutually exclusive, Midas Touch Studios' fantastic sounding, acoustically treated room will leave people in awe of your sound.
Midas Touch is easily accessible via bus, train, or car. Nearby are plenty of Deli’s, fast food, pubs, parks and a wicked gourmet pizza shop to keep you fed and ready to record some great music.
Plus Concept Music is only 5 minutes drive away.
But most importantly - lots of amazing coffee shops around the corner in Subiaco!
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But there is also a cunning twist to Midas Touch Studios that promises to save you money AND increase the quality of your final product!
You see, It isn't really just one studio, and it doesn't really operate according to the old conventional idea of a studio being a single facility with a single fixed rate...
So how does it work? Well at the heart of the operation are the premises dubbed "Midas Touch". The lovely room in all
the photos, the place where you can relax and record some overdubs or vocals. With beautiful acoustics and fantastic sounding gear, the great bonus here is that as a small single room facility it's got a lower hourly rate. That means you can spend more time working on your music.
It also has benefits larger studios generally can't accommodate like loads of natural light, making it far more comfortable, in turn making you more productive, and helping you record better performances.
On the other hand, we can just as easily make use of a larger facility like Sumo, great for giving your drums a big, impressive sound. Or tracking live to give your recordings that natural live energy. Not to mention it's absolutely loaded with great gear.
Or if you really want a big authentic Yamaha grand piano and several tracking rooms then there's Crank - the only studio in Perth with an SSL console.
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By bringing your band to Midas Touch Studios you get to make use of the most appropriate facility for your needs and budget, get to mix and match studios in whatever way you need to for your project, and you get a great producer who will expertly oversee the entire process at each studio, making sure you walk out with the best manifestation of your art you could've possibly hoped for.
Call Anthony today and arrange a meeting - 0435 113 654. Or click here to hear what Midas Touch Studios can do!
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Favorites
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Sets
- 11 tracks (39:11)
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Services/Rates
- Midas Touch Studios also offers tracking at external studios with Anthony Manning-Franklin and additional equipment.
At Midas Touch
At Sumo
At Crank
Hourly
$50.00
$65.00
$150.00
Day Rate
$400 for 8 hours
$650 for 10 hours
$1,200 for 8 hours
Graveyard Shift
N/A
$550 for 10 hours
N/A
Minimum Booking:
4 hours at Midas Touch
8 hours at Sumo
8 hours at Crank
Studio Policies:
Multi tracks/mixes will only be handed over once full payment has been made.
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Website Gallery
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Credits/Testimonials
- Testimonials:
We were anxious at first, being our first time recording in a studio, but the team at Midas Touch Studios were instantly friendly and easy to communicate with. Their extraordinary knowledge of their art-form coupled with excellent value for money made our first time in a professional recording studio BRILLIANT. We will be back for sure! - Tempest Rising
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Midas touch is the kind of environment that you naturally want to spend a long time working in. The great lighting and open space keeps things fresh, productive and stress free for longer than most other studios I have worked in. Being in the final stages of recording an album here, I’d recommend it to anyone! - Michael Swann
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The best thing about Anthony's production is it is so flexible; Anthony worked with us to get the sound we wanted. - Brady Clark of Love Sponge
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I've worked with Anthony countless times over the last 10 years and I've always had an amazing result. He gets the most out of a drum's sound because he understands how they work. Anthony goes beyond the call for his job in suggesting ideas for drum parts and sounds. - Leonard Barker, session drummer
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I could seriously not be more happy or impressed with how these recordings ended up sounding. Anthony did a freaking excellent job. - Ed Smith of Sidewalk Diamonds
Get yourself on this list - Book a session today!
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Video EP
- The most powerful impression your music can make onlineA professional live in the studio service that will hugely accelerate your band's social media visibility - actively engaging fans with your music!
First, we take your band into Sumo Sound Studio for two days, filming & recording a live performance of four songs. Then expertly mixing, mastering, and editing the audio/video to provide a powerful, professional and impressive video that will give you a huge edge in the industry!
Why send promoters your garage-recorded demos when you could give them a YouTube link and really show them what your band is about?!
It's a fantastic way to gain more fans!
In today's fast paced world holding people's attention is difficult. Soundcloud links on Facebook rarely work. Most people will accidentally navigate to another page, and even if they do finish listening to your song they will have moved on in their browser, not thinking to share it!
However, YouTube is one of the most actively shared media types on Facebook. Plus people will pay attention wholly to your music, reaching them at a far deeper level.
But that's not all we do! We even help promote your videos, sharing them through various channels and making sure they reach a larger audience - preferably one that hasn't heard of you yet!
So do your music justice and book a Video EP today for $3,800!
Contact Anthony: 0435 113 654 or Anthony@MidasTouchStudios.com.au
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Contact
Contact for quotes, enquiries and bookings!
Email:
Anthony@MidasTouchStudios.com.auPhone:
Local 0435 113 654
International +61435 113 654
Online Payments:
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Posts
- Using Reverb to Help Tell Your Tale
Everything is better in context. It gives greater meaning to words or narrative. It enhances, enlarges, and improves. And in recorded music, reverb is that context.
In it’s simplest form it tells us about the space the music was recorded in, or creates an imagined space for the music. At a more advanced level it can be used to help tell a story, to add narrative to an element in the mix, or empower it to invoke imagery. Reverb can even be used dynamically, changing and morphing to match the song’s intention.
So now you’re probably thinking “Wow, that’s a lot for reverb to be doing! That’s a pretty big call, how could I convey all that?” Well first I’ll explain some common features of reverb not just from a technical perspective, but also how they affect us emotionally. Then I’ll describe a few of my favourite “stories”, “pictures” or “contexts” to create with reverb.
Pre Delay
Pre Delay is the delay between the direct sound and the reverberated signal. It mimics the distance between the source and the room boundaries. Therefore, a short Pre Delay indicates a source that is further away, nearer a wall boundary. A longer pre delay indicates the source is nearer, and the walls further away.
Diffusion
Diffusion is how smoothed out the reverb is. Less diffusion means more discrete echoes. So discrete echoes indicate hard, and large, boundaries. Such as walls, cliffs, caves. Diffused reverb indicates smoother and more complicated boundaries - halls, natural environments, and such.
Absorption/EQ
Absorption controls which frequencies are being attenuated first by the environment. In large spaces, the air itself begins absorbing the high frequencies first. Thus some HF absorption can help create a sense of spaciousness. It can also invoke feelings of a softer environment: Wood rather than concrete, padded rooms, etc.
EQ can be used for a similar effect, although it isn’t exactly the same as adjusting HF Absorption.
Reverb Length/Decay Time
The most obvious affect of this control is that it changes the size of the space the music or element is in. From small, tight punchy rooms, to huge halls, even to ethereal impossible spaces.
Stories
One ‘story’ I find myself often telling with reverb is that of the lonely instrument. Often times you might have a mournful song, and things are a bit spacey, but not over the top. Then perhaps after a chorus, a lead element might come in as the musical embodiment of those lonely, unrequited feelings.
So I seek to isolate that element in the mix - emotionally. I might give it it’s own reverb send. With little or no pre-delay. Some HF roll off. A diffused sound, and long decay time. Thus sending that element very far away, in a space not occupied by any other instrument.
Now the reverb has helped turn what was just a soulful lead part, into it’s own metaphor within the track, and created a further emotional tie between music & lyrics.
Another is that of the ‘breathing’ room. If a song is tight, punchy, staccato during the verses, with lots of pent up energy, and then opens up into a open, legato chorus, then it can be very powerful to match that transition with reverb. Some times this means creating two sets of reverb sends. One bright, short, the other dark, long. Pre-delay can usually stay roughly the same. You can then ride or automate each of the sends to change the space from verse to chorus.
Now it feels as if the musicians are so powerful, they can move walls merely with their songs.
So try it yourself. Don’t just use reverb just because it sounds pretty - read the lyrics, think about the song, and figure out what you can do to help tell the tale. - 7 Tips to Successful Home Recording
1. It’s All in The Room.
So a lot of people fuss over what microphone, or what equipment. But the first thing to consider is, are you working in the best possible space? And I don’t mean ergonomically, but acoustically.The fact is that, aside from the source itself, the room is the biggest contributor to the sound of an instrument.
Now there might only be so many options when you’re recording at home, but there’s a few simple things to consider that can achieve great results.
Firstly, is it the biggest room you could use? Generally speaking, smaller rooms have more prominent issues with standing waves than bigger rooms. You don’t need to understand physics to recognise the sound of a standing wave - I’m sure we’ve all had that experience where you’re playing a riff, and one note just seems to resonate with the whole room. That usually means it’s reacting with the modes of the room to create a standing wave. It makes some notes huge and ring out too long, and others diminished and lifeless. It wreaks all sorts of havoc on recordings. So in short, use the biggest room you’ve got.
Secondly, what’s in there?
Now you might be inclined to clear out the work space you’re going to record in, but I’m going to stop you for a minute here. In professional studios we spend loads of time and money building absorbers and diffusors. Both to absorb the sound thus shortening reverbs, and to break the sound up, giving the reverb a sweeter, smoother sound.
Things like couches can act like absorbers, and things like book shelves can act as diffusors!So if it isn’t going to rattle, and isn’t in the way, leave it! Microphones aren’t like ears, they don’t respond nicely to heaps of reverb.
2. It Starts at The Source.
Sounds cryptic I know, but it’s 100% true. You can’t record what isn’t being produced. So if it doesn’t sound great, you’re unlikely to make it sound any better later. Make sure guitars have been set up for intonation, drums have been tuned, heads replaced, fingers warmed up, and vocalist’s feet massaged. (Ok maybe not the last one)If you need to borrow a mates rig, or cymbals, or pedals, do it!
So chase down any squeaks/buzzes, check tuning every couple of takes at the least, and keep your gear in top nick!
3. Place Those Mics, Place Them Well!
Microphone placement is an entire art and skill unto itself, but lets cover some pretty universal principles that can help you achieve that sound you want.Distance - There’s a couple of really important things that happen when you adjust the distance of a microphone from it’s source. The most obvious one will be that the further you move from the source, the roomier and less defined the sound gets. Yet at the same time, the further out you are the more “lifelike” the sound is through the microphone. You might notice however, that lifelike is often not what we’ve come to expect from a recorded sound.
On the other hand, as you move the mic in closer it’s essentially picking up a smaller “piece” of the sound produced by the instrument, making it more sensitive to precisely where it’s placed.
For example, a microphone on a guitar cabinet will generally pick up a brighter sound when placed in front of the dust cap, and a darker sound as it’s placed more towards the edge of the speaker cone.
And at the same time, when using a mic in cardioid or figure-8 pattern, moving closer increases the amount of bass the microphone picks up.
4. Leave Plenty of Headroom.
If you’re recording at home, you probably don’t have lots of compressors to use during recording to keep your signal to a consistent level. So rather than risking ruining that perfect take with some unexpected clipping, play it safe and keep the level low. You can always slam it in the box.
5. Slam it.
If your computer can handle some plugins while tracking, do it! At least for overdubs. It’s much more inspiring to work with material that sounds great, so if you need to quickly EQ some stuff, do it. And if you can, throw some compressors on everything! It’s much easier to overdub when instruments are consistent in the headphone mix. Especially for the vocalist. You can always work out some more pleasing compression later, but for now just use it to keep levels consistent.
6. Don’t Settle Too Soon.
With today’s modern hard drives, hours and hours of recording barely makes a dent in their capacity. There’s no reason you can’t keep doing takes until you get that great one. If you’re recording at home then you might as well take advantage of the fact that the clock isn’t ticking away. Even if you’re only recording for the sake of pre-production, it’s good to know what it takes to reach that one great take.Of course, you have to play amateur psychologist to make sure you’re actually making progress, not just driving everyone insane.
7. Keep it Positive.
Recording yourself is hard work. It’s tough trying to be objective about your own art. It’s going to add some stress trying to be both artist, technician, and producer. Make sure you take breaks when it gets too much, eat properly, drink plenty of water and keep track of everyone’s feelings.It pays to make sure any constructive criticism focuses on what they did well, and what they can do to improve, rather than just telling them what they did wrong.
