Tools of the trade
Client List to date
Power Mac 8 Core 2.8 Processor w/16gigs ram
Pro-Tools 003 Rack Factory, v9
Final Cut Studio 2
Waves Mercury v.8 Dynamic, Vocal, and Effects processors
Serato Pitch and Time
East/West bundles: Gypsy, Silk, Ministry of Rock, Goliath, Platinum Orchestration, Voices of Passion, Pianos Gold.
Stereo Pair KSM141 Microphones
SM 58 Microphone
Focus Studio Near Field Monitors
Oxygen49 MIDI controller
KorgKontrol2 MIDI controller
And lastly... A brian hemorrhaging with the discoveries & knowledge of centuries of human accomplishment.
Protilius Productions has provided services for a wide range of clients, businesses, and publishing entities since beginning professional operation in 2010.
Pre-master specs for Mastering
Clients have benefitted from Protilius Productions services with success in music licensing, placement in broadjam top 10 charts, and by providing polished portfolios to present to fans and venues (for live performance consideration) alike.
The styles Protilius Productions has worked in range in nearly every genre being presented on the market today.
To become a part of Protilius Productions' continually growing client list, please contact N.Jones for a consultation today, the results are never anything less than industry standard.
Matthew Miller: Engineering, mastering
Richard Wozniak: Engineering, mastering
Diana Rasmussen: Engineering, mastering
Betsy Walter: Mastering
Dianne MacAdam: Engineering, Mastering, Demo Production
Ron and Lisa Potter (Juniperis2 & Stuck With Green): Engineering, Mastering, Remixing
Jillian Ann: Remixing
Leah: Engineering, Mastering, Remixing, Demo Production
Larry Folk: Engineering, Mastering
Peter Olach: Engineering, Mastering, Demo Production
Theodore Frederickson/Hjay Carney/Starburst Music: Engineering, mastering, demo production, vocal services, remixing.
Phoebe Blume: Demo Production
Mia Muze: Engineering, Mastering
Hank Thomas: Engineering, Mastering
Nils Rurack: Engineering, Mastering, Vocal Services
Charlotte Hukvari: Engineering, Mastering
Cyndi Corkran: Mastering
Marilyn Oakley: Mastering
Bill Dake: Mastering
Penny Towers: Engineering, Mastering, Remixing
MTV Studios: Music licensing
HDMusic Now: Music Licensing
Starburst Publishing: Music licensing
Harpo Publishing: Music Licensing
Pacifica Publishing: Music Licensing
Primary composer for the "What if the night tasted like sugar OST" and the "Trilogy OST."
Theme music production for "Think Zink Radio" out of Dallas, Texas.
Providing an optimally engineered and bounced pre-master will help me get the most out of your production.
Recording Basics #1
Please provide 24bit 44.1k Wav or Aif files and include 3 seconds of space at the beginning and end of the production (Footers and headers).
When bouncing your pre-master, you'll want to see deep and dynamic combs in the waveform of your stereo bounce. Plug ins should be removed from your master fader to preserve dynamics and allow me to better polish your production.
Files can be transferred through Dropbox or a platform of the client's choice online or mailed by CD/DVD.
Rush jobs will be deferred to the preferred Dropbox method of delivery.
Levels and quality:
Forms and methods of payment
Checking your levels into the box while recording is crucial to getting the best sound possible out of your work.
At no point should the levels be so high that they clip, but you don't want to settle with low volume recordings either, so you're going to want to set your levels considering a few factors & observing a few guidelines.
1. Pop filter. Big boomy words, plosives, and breathing in general can blow out a take in a real hurry. While recording, make sure you have something in between you and your mic, and your takes will turn out better for it. (Ask Nathaniel for some cost effective ideas if you don't have the time to stop by guitar center.)
2. Levels and space. When you set your level inputs for recording you need to set them at the loudest portion of your performance. You'll want to observe a half a foot of distance from the microphone, but take the time to listen to what kind of difference an inch or two can make by moving closer or further away during performances, take the time to feel out the best sound for the microphone you're working with.
You'll notice the further away from the microphone you move, the more of the room you'll pick up while upping your input accordingly, room sound is good but sometimes too much room sound will limit your options in its engineering. Your engineer will have reverb options to accomplish that goal artificially, so shoot for clean and up close recordings that have a full sound and less room ambience.
3. Background noises. Avoid them. Anything from vehicles driving by, household appliances (fridges, computer fans, AC), mouse clicks (DO NOT CLICK A MOUSE IN THE SAME ROOM AS YOUR MICROPHONE WHILE RECORDING), walking around or moving while playing instruments. Its all bad. Your microphone is pretty good at picking up all of those things. Be mindful while recording and save your engineer a heart attack later:)
4. Timing and sync. This is above all the hardest issue to fix on a list of items that could potentially need to be engineered. Oddly, even with all of Nathaniel's gifts he has no sense of timing (just listen to him sing), so its important that all of your stems match and timing is exactly where it needs to be. You can accomplish this by observing several guidelines.
A. Bounce all stems from the same start point. Label the BPM so adjustments can be made if required.
B. Before sending vocals, line up your bounces with your raw source material outside the session, make sure it lines up exactly as it was intended to. If not... You need to bounce your vocal takes again and make it line up properly or your engineer has a 0.001% chance of making it sound the way you intended it to on the first try. Keep in mind your engineer charges $50 an hour and timing fixes are tedious. Its best to avoid it all together.
Payments for services $100 or under are made in full at time of hire.
Payments for services greater than $100 are made half up front and half on completion.
Vocal engineering is considered a separate process/job from music composing during demo production. This is primarily due to the fact you can't always rush inspiration once you have a instrumental bed that works. Benchmarks can be planned & discussed at time of hire based on the client's needs, budget & schedule.
Paypal payments can be sent to:
Please add 3.5% to your payment to cover paypal back end fees.
Checks can be made out to Nathaniel Jones and mailed to:
PO box 499
Magdalena Nm, 87825
Credit and Debit is currently being explored as a viable form of payment for Protilius Productions and N thanks you for your patience.
Work on projects begins on receipt of payment.
Bulk projects are subject to discounts discussed at time of hire.