Recording Studio Piladelphia, PA: Tracking, Demos, Overdubs, Mastering, and CD duplication for the Philly area. Philadelphia Recording Studio and Record Label
Recording Studio and Record Label Philly: Mixing, Overdubs, Live Sound Engineering, and Location Recording for Philadelphia area
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Studio services include: Tracking, Overdubs, Mixing, and CD Mastering.

Now offering location recording and live sound services in the Philadelphia area.



         Shimamoto Sound is a creative audio environment that seeks to bring the most out of an artist's music. Our staff is committed to working hard to make things right so our clients don't have to worry about the technical aspects of music. We offer top quality analog and digital audio technology for all types of music and have the experience to make the most out of these tools. We pride ourselves on being able to being able to offer our clients good deals because of our many years of experience and strong work ethic. Our projects are always done on time using efficient, time effective methods.         Contact Shimamoto Sound to see what we can do for you today. We're happy to answer all of the questions you may have about the recording process or the music business in general. We strive to help artists of all experience levels get the most out of their careers. Shimamoto Sound offers a variety of solutions for recording artists so that we are able to be a one stop answer for every aspect of a music career. Our experience and expertise in the music business has been proven it can take a music career to the next level.        



Record labels have never really understood what makes a record “sound good” and frankly, few even care. Many of the people who sign artists don’t understand their music at all. Instead, they are able to pick up on musical trends, and replicate those trends across the ranks of their artists. Artists that fit into the trend are fed, the rest are starved. Over the past few years, record labels have increasingly attempted to dictate to the artist and producer the target volume level of the CD. For some reason, record labels have it in their head that “LOUD” equals good, and therefore, “LOUDER” equals better. Not caring to understand even the basics of audio, these morons simply demand more volume (typically from the mastering engineer) and really don’t understand – or care – about the consequences of their demands. Mastering engineers are caught in a Catch-22. If they do not deliver a product that is appropriately LOUD, then they are consdered inept by the labels and are shunned. If they refuse to destroy the artist’s music, then they aren’t being “team players” and quickly fall out of favor. But if they provide what the customer demands (and remember, the label, not the band, is the customer) then they ruin a perfectly good piece of music, and they know that sooner or later, people are going to figure out why the sound is so horrible, and then the mastering engineer will be blacklisted for having followed orders. Having said all that I really don’t know what I would do in their shoes. If someone offered YOU the opportunity to master a Rush CD, and then told you that you would have to destroy the sound quality in order to get the job, how would you respond? It isn’t a clear or easy choice.



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