With ever-smaller and more powerful portable recording capabilities and given the broad tonal palette available to the electronic musician to today, a truly infinite array sonic environments are available for any project. Futurescale has the technology, experience and expertise to create just the sound you're looking for.

• AmbientWe have created a large private stock of digitally captured environmental recordings going back to the early 90's ranging from Appalachian forests to Caribbean shores to New York's Central Park and Times Square. And we're always on the prowl for new sonic atmospheres. Whatever the scene we can provide the appropriate ambience to immerse the listener in your world.
• FoleyWhere would Kung-fu movies be without the wince-inducing sound of cracking bones? Any Foley artist knows that breaking a stick of celery close to a microphone will produce just the right effect without sending anyone to the hospital. Creating the sound effects that turn your game, animation or film into an engaging experience is a vital part of bringing your piece to life; adding a convincing realism that the listener expects to hear.
• SynthWhen it comes to sculpting electronic sounds, we've got more filters than you can shake an oscillator at. And we know how to use them. A choice selection of outboard equipment compliments our increasingly effective arsenal of virtual synths and effects. This means that when we sit down to consider the orchestration of your piece, we can make it a truly unique and stimulating experience.
• MixUntil the mix, the real sound of a piece is usually buried, a diamond in the rough. Equalization on every track allows us to roll off all the sound except that in the desired band of the spectrum. The center frequency for that voice is where its energy is greatest; the pulsing heart of the sound. The harmonics of the voice are other bands that aren't as energetic, but are also important to the overall timbre of the sound; its ethereal soul if you like.  And complex sounds often have dramatically different harmonics during attack and decay. Teasing out the true voice is just the first step on the way to preparing it for its role in the mix. Then comes panning and effects to place it into the environment of the track and give it life. After all the actors are on the set, rehearsal begins. Many passes through the material are required to make sure that the voices aren't conflicting with each other spatially or sonically.
• MasterOnce there is a good mix candidate, mastering begins. Compression, leveling and gating allow us to create a floor and ceiling for the overall energy of a track. Below the floor, or lowermost threshold, the gate stops any unwanted noise from entering the track, such as background room noise during vocal pauses. Other tools like maximizers and exciters can add punch and interesting spatial and high frequency effects that can liven up a flat-sounding mix. All this work gets the track 'radio-ready'. To get there, good near-field studio monitors with a flat response curve are essential. But to really know when the mastered track is finally ready, the true test is to take it for a spin around the block and listen to it, preferably on a run of the mill factory stereo. 'Radio-ready' really means 'still sounds good on a crappy car stereo'.