"Working with Heather on 'Waterfowl' was seamless. They worked so quickly and balanced our vision with theirs perfectly. Mastering's artistic fingerprint can be tough to pick out, but the album sounded tangibly warmer and brighter after Heather worked their magic" -Jack of Frankie Valet

"I can confidently say that working with So Big Auditory caused the quality of my songs to improve significantly. Throughout the process, I felt the love and knew that my songs were in good hands." -Nayla of Jungheim

"I have been a fan of Heather's music for a long time. What has always struck me was how good everything sounded on the projects they were involved with. I knew that I could trust their ears and instincts. Working with them could not have been easier. I had my masters back quickly and everything sounded noticeably warmer and brighter. I was impressed but not surprised." -Andhi O'Neill

About

With one of the most accurate listening rooms in the area, an extensive collection of microphones and analog front-end, and a vast warehouse tracking space, So Big Auditory has everything artist & engineer need to make a thoughtful and thought-provoking record at service costs significantly below other professional options.

The studio isn’t equipped to impress--it is designed to work. You won’t find too many impressive brand names, but each piece is a candidate for resale, and only the most crucial elements are kept, some significantly modified to meet the studio’s standards.
With an 8 track tape machine, a 24-track digital system, analog EQ, compression, and effects, everything required to make music in the current age of aesthetically and metaphysically diverse music is within arm’s reach.

For post-production and mastering, the monitoring and back-end is pristine. Industry standard conversion to make sure every nuance of the music is heard. Analog summing to give mixes the vintage magic of a non-linear mix bus. B+W Matrix 805’s--the former-standard monitors at Abbey Road (yes, that one), and the nearfields at Electrical Audio's legendary Studio B--for timbrally and dynamically accurate playback. Hiss-free playback means a low noise floor to reveal the subtlest details and artefacts.

So Big is located on stolen Lene Lanape territory known as West Philadelphia.

Work

Misc Examples:

sadurn - "snake" (2022, Run for Cover) recording, mixing

deer scout - "Cowboy"
(2022, Carpark Records)
recording, mix

They Are Gutting A Body of Water -
"Eightball" (2019) (2020, Citrus City)
recording, production

ther - "swimming" (2021, Moon Physics)
all inst + lead vox, recording, mix

Noera - "Gemini"
(2019, Dead Definition)
recording, production, mix

Mastering Examples:

Normal Zac - "Your Quiet Years" (2022)
mastering

King Azaz - "Honey for Mud"
(2021, Get Better Records)
mastering

Twin Princess - "Blossom"
(2020, Moon Physics)
mastering

Highnoon - "Today I'll Wait" (2021)
mastering

Frankie Valet - "Our Apartment"
(2020, It Takes Time Records)
mastering

Other credits include music by:
2:00 AM Wake Up Call, Adult Mom, AllegrA, Amelia Cry Til I Die, Anna Guterman, Apostrophe S, Bebe Machete, The Bottom, Bye Forever!, Drama Section, Don Forgetti, Future Interior, George Cory Todd, Ghost Insurance, Good Morning Daydreamer, The Great American Novel, The Human Fly, Janna, Kilometers, Laura Wolf, Lester, Lost Dog, Mia Alma, Mother Moses, Nine of Swords, Pauline, Peaer, Pinkie Normal, Sasha V, Saapato, Scyphozoan, Soupy, Telepathy Club, Trees Take Ease

Rates

Get in touch for a quote, but the typical range of costs are:

Mastering - 40-60/song (or 8-12/minute for longer song lengths)
[Note: Black and Indigenous artists, and projects led by them, are invited to pay as low as 25/song or 5/minute, no questions asked. Whether the job is priced per track or per minute is dependent on track length]

Recording - 200-250/day
[Note: So Big Auditory is not equipped for ensemble recording. However, Heather will engineer recording sessions at the studio of your choice, provided that any applicable rental fees, COVID safety-related costs, and travel expenses are covered by the client.]

Mixing - 150-200/song
this includes a hybrid (digital and analog) workflow. an analog mixbus facilitates a warm, clear, and punchy mix that will translate on systems big and small

Reach Out

Are you interested in booking time? Making a record?
Maybe you have some questions , or are unsure of what your next step is.
Whatever it is, you are welcome to send an email.

Gear

Front-End:
(2) Hairball Audio Copper
Tascam M312

Processiong:
(2) DIYRE Colour Palette (loaded with Pentode, Mass Drivr, and "30 IPS")
Presonus ACP88 Compressor/Gate
SoundSkulptor CP4500
TK Audio TK-Lizer 500

Mics:
AKG 214 (modded)
(2) AKG C3000B (modded)
beyerdynamic M88
(2) MXL 991
Sennheiser e906
Shure SM57
Warm WA251

Back-End:
Lynx Hilo Mastering Converter
Apogee Rosetta 800
DIYRE SB2 Passive Summing Mixer
TEAC 80-8 1/2" Tape Machine
Fostex x-28h 4-Track Cassette Recorder
Rupert Neve Designs R10

Monitoring:
Neumann KH310 Monitors
Sennheiser HD650 Headphones
Audio Technica M50X Headphones