Our production process


It is easy to understand how a final fifth or sixth generation copy  is certainly penalized compared to a lower generation in all its technical and musical parameters with consequent influences in the reproduction of its content.

We have worked very hard in our study in Savio, by making tests of mastering, editing, duplicating, and various kinds of interventions with scientific and documented criteria with the production chains set up in different configurations and at the end we have achieved the result we were looking for.

We are proud to say and certify that all Hemiolia Master Tapes we produce are Master of real THIRD GENERATION compared to the original session tapes and it represents an outstanding result compared with the production standards of most Master Tapes in the market, which normally are fifth or sixth generation tapes.

In this section we describe the production process of a Hemiolia Master Tape, from recording to the recorders sales, distinguishing it by tapes collection:


Hemiolia Master Tape of Live collection :

The recording is made in "live stereo mix"  mode during the concert by using a Studer 269 analogic mixer with 16 channels and three 2-track recorders 1/4 " that alternate to allow the change of the tape and not to miss any moment of the live event.

In the recording chain two  Telcom Telefunken units are used, one for the encoding of the recording and one for the decoding that allows the monitor listening of the signal coming directly from the recorders during the event.

The Products session Tapes are moved into our office in Savio and immediately analyzed to determine the parameters to be applied in the following mastering operation that normally differs for each recorded song.

After the analysis the original session tapes are rotated and simultaneously the mastering operations are carried out while a second unit records the processed signal of Mastering in progress, thereby generating a second-generation Master.

The mechanical editing is directly made on the same Master and it also provides the insertion of a new piece of tape previously recorded in the studio that contains the reference tones of 1Khz and 100 Hz necessary for the optimal aligning of the recorders which will be used for the production of the HTL intended for distribution.

The Master created is  personally transferred by one of our managers at the headquarters of Perugia, where there is production room, avoiding courier shipments that could compromise the quality.

The tape is stored with extreme care in a stock specifically set up for the storage of all magnetic tapes, with controlled humidity and temperature, waiting for its use.

The final production of the Hemiolia Master Tapes occurs for programmed batches and  follows a strict procedure that provides for the verification and calibration of the recorder used as a player for the production in the room whenever the tape is loaded even if this happens several times in the same day.

With the test tones recorded in the Master production, the aid of an oscilloscope and other apparatus in the room, the tape is perfectly aligned and the chain is arranged for the simultaneous duplication of a maximum of 14 copies at a time.

In the 14 slave recorders  connected in the duplication chain the Pyral SM900 blank tapes taken from boxes previously subject to quality control procedure are loaded and a piece of tape leader is added on each tape.

During the duplication phase our operator makes a manual audio control scanning of the direct monitor of the single slave recorders connected in the chain and engaged in the operation every 10 seconds, in order to verify the regularity of the duplication process on all machines.

At the end of this chain we obtain THIRD generation tapes compared to the original session tapes.

The tapes produced are put again in their original packaging together with the technical sheet of production which has been prepared during the previous steps and stowed in their stock.

Just received a purchase order of a Master Tape the product is taken in the stock and transferred back into the production room where an operator makes the operations under the ERW system.

The Master Tape is picked up by the operator and loaded into a M15A Telefunken recorder specially modified to interface with ERW system.

The operator identifies the Mater Tape in the company's computer database during operation and associates it with the name of its buyer.

The ERW system automatically creates an encrypted code that contains the name and surname of the buyer, date of purchase and the main technical data of the production .

The code is transferred to the Master Tapes through the ERW system which uses the recorder connected to position it at a random point of the same by mixing the audio signal into an inaudible frequency.

After this phase the packaging is prepared, the technical sheet that will accompany the Master is verified and completed and the A4P certificate is prepared and signed.

At this point we're ready to ship it and we prepare the shipping in the best way to prevent possible damages of any kind during the transport.


Hemiolia Master Tape of Gold collections (recordings in natural environments):


Even in this case the recording is made in "live stereo mix" mode, using Studer analog mixer, model 169, 269, 961 or 962 in relation to the needs, and one or two recorders two-tracks coils 1/4.

Even in this case two  Telcom Telefunken units are used in the recording chain, one for the encoding of the recording and one for the decoding that allows the monitor listening of the signal coming directly from the recorders during the event.

The rest of the production process is then identical to the one described for the R3 collection.

Hemiolia Master Tape of Studio Reference collections (recordings in our study):

Unlike the processes described above, the production of this collection derives from recordings made in multi-track mode, using Studer  2 ", 16 or 24 tracks recorders and an important D&R analogue mixer with 96 channels produced in the Netherlands in the early 90’s.

Another important difference is that in these productions we don't use Telcom units or any other similar apparatus because we are in an environment totally controlled from every point of view and we can avoid it.

After its production, the multi-track analog recordings pass into the expert hands of Pietro Benini for the next stage of mixing and simultaneous mastering via the D&R mixer and all the apparatus of analog outboard in the study, which flows in a two-track recorder for the creation of a stereo master which represents the sum of all mixed and mastered channels.

The two-tracks Master Tape thus produced is then manually edited in a mechanical way to get the second generation Master Tape to be used for the production of the Hemiolia Master Tapes intended for sale.

The rest of the production process is then identical to the one described for the R3 collection.