For the Discerning Ear
Malone Digital fuses authenticity with precision. We produce sound that is faithful to its analog heritage yet leverages the exactness of digital technology. In doing so, our audio archaeologists reveal the rich qualities that made historical recordings special and combine them with 21st century reproduction. In short, it's the best that both worlds offer. If this sounds like what you are striving for, you have come to the right place.
Perhaps counter-intuitively, it is probably more about what we don't do rather than what we could do. We don't use anything particularly fancy to achieve our goals. Instead, the most powerful instruments in our toolbox are our ears and respect of history. Starting with those, everything else neatly clicks into place. The result is plush, warm, and dynamic sound freed from blemishes and ready for digital consumption.
What Malone Digital can do for you:
- Restoration of degraded audio signal (analog or digital drop-outs, impaired signal, fidelity reduction through wear, etc).
- Careful removal of musicians' bumps, clicks, pops, and other non-musical sounds.
- Declicking and decrackling of audio sourced from vinyl, acetate (lacquer) discs, or wax cylinders.
- Pitch adjustments (for audio recorded or reproduced at an incorrect speed).
- Correction of azimuth (time alignment) errors.
- Minimisation of 'wow' (speed irregularities manifesting as pitch oscillations caused by uneven media shrinkage, eccentricity, or mechanical error).
- Mix-down of multi-track material to two-track stereo for CD or digital download (iTunes, etc.) release.
- Editing and sequencing of programme material.
- Mastering activities inclusive of equalisation, level matching, track spacing, and DDP package preparation for pressing-plant replication.
A number of tools and proprietary hand-crafted techniques are used to perform this work. Malone Digital has a particular focus on working with mono, two, three, and four-track source materials from the 1940s through the 1970s.
What Malone Digital will not do for you:
- Heavy handed digital noise reduction. In fact, we seldom use the thing. Sometimes noise reduction will help a recording better connect with its audience, so we may conservatively dial some in. But we're carefully comparing against the original to make sure those miniscule musical moments aren't killed off. Any use of digital noise reduction weighs heavily on our minds. Heavily.
- Grotesque dynamics processing via peak limiting or compression. We don't smash recordings. We want you to hear dynamics the performers and engineers strived to reproduce. And your volume knob is yours. Squashing things is work for steamrollers.
- Pierce your eardrums with overbearing treble. You don't watch TV with the brightness turned to the max so why let someone do this to your music? Why do that? You don't need to be deafened and fooled by all that fake sizzly high-end. We want instruments to sound real. We want your ears (and ours!) to last a lifetime appreciating that realism. If you really want overbearing treble, you can adjust your own tone controls accordingly.
- Jack up the bass to make something sound 'modern'. Sure, we want a solid bass foundation but we want it focussed and genuine. Not everything is meant to register on the Richter Scale.
Now, let's talk about what Malone Digital could bring to your music project.
Should you have any questions or feedback, please do not hesitate to contact Chris Malone via the following e-mail address: firstname.lastname@example.org.