You have music written. You love and cherish it--a sum of your experiences, dedication, and hard work.
However, you don’t have that finished recording.

What do you do next?

Bring it somewhere it will continue to be loved and cherished.
Bring it to So Big Auditory.

"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

Here are some collected recordings that passed through So Big at one point or another.

Misc Examples:

The Human Fly - "Track Star" (2020) recording, guitar, synth, bgv, mix

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

ther - "swimming" (2020)
all inst + lead vox, recording, mix

Esther - "Dear Ohio" (2020)
recording, piano, mix

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

Mastering Examples:

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

Janna - "i don't know" (2021)
mastering

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

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

Haruspex - "sum of all loss" (2021)
mastering

Other credits include music by:
Adult Mom, AllegrA, Amelia Cry Til I Die, Anna Guterman, Apostrophe S, Bebe Machete, The Bottom, Bye Forever!, Deer Scout, Drama Section, Don Forgetti, Future Interior, George Cory Todd, Ghost Insurance, Good Morning Daydreamer, The Great American Novel, Janna, Kilometers, Laura Wolf, Lester, Lost Dog, Mia Alma, Mother Moses, Nine of Swords, Pauline, Peaer, Pinkie Normal, Sadurn, 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 - 30-50/song (or 6-10/minute for longer song lengths)
[Note: Black and Indigenous artists are invited to pay as low as 20/song or 4/minute, no questions asked. Whether the job is priced per track or per minute is dependent on track length]

Recording - 150-200/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 rental fees, COVID safety-related cost travel expenses (if applicable) are covered by the client.]

Mixing - 100-150/song

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 (Neve 1073 clones)
Tascam M312-B (12 channel analog console)
Peavey PA-VI (5 CH Mono Mixer with spring reverb)

Processiong:
TK Audio TK-Lizer 500 (Mastering Mid-Side Baxandall EQ)
SoundSkulptor CP4500 (Buss Compressor, SSL Clone)
(2) DIYRE Colour Palette (loaded with Tube, Diode, and Transformer based saturation/clipping options)
Presonus ACP88 Compressor/Gate

Mics:
AKG 214 (modded condensor)
(2) AKG C3000B (modded condensors)
(2) MXL 991 (small diaphragm condensors with matched pairs of cardioid and omni capsules)
Sennheiser e906 (dynamic)
Warm WA251 (tube condensor)

Back-End:
Lynx Hilo Mastering AD/DA Converter and Interface
Apogee Rosetta 800 AD/DA Converter
DIYRE SB2 Passive Summing Mixer
TEAC 80-8 1/2" Tape Machine
Fostex x-28h 4-Track Cassette Recorder
Rupert Neve Designs R10 500 series chassis
Audio Power Industries Power Wedge Conditioner

Monitoring:

Neumann KH310s Monitors

Sennheiser HD650 Reference Headphones