Clients

ITA has worked with some of the best clients in the world, from Mixing Engineers to some incredibly talented artists who have topped Billboard charts and won awards.

Mastering

Our world-class mastering engineers have fine-tuned the likes of Nashville’s greats and musicians that are breaking through the music scene to become the greatest hits of tomorrow. Let us show you what it takes to give your track that little bit extra that will push it over the top.  Also offering “Disc Description Protocol” uploads (DDP).

  • “Glenn is a true mastering engineer in every aspect of the job description. When you spend countless hours on a project and put your heart and soul into your work, it can be scary letting it go to mastering, not knowing how it will turn out. With Glenn, I don’t have to worry and I have complete faith that he will do what’s truly best for the project, even if it means not doing much to it at all.”

    Recording / Mix Engineer – John Arbuckle, New York www.covecitysoundstudios.com

  • Big thanks Glenn! for putting the ‘icing on the cake’ mastering my new album titled “High Road” being released in 2016. Everything sounds great! (Appeared on American Idol Season 5)

    Artist – Jordan White, Pennsylvania www.jordanwhitemusic.com

  • Glenn mastered a project I mixed and I quickly heard how well tuned his ears are. He provided knowledge and showed patience throughout the process. His work speaks for itself, I highly recommend utilizing Glenn for all mastering needs!

    Mix Engineer James Meslin, New York www.jameslinaudio.com

  • Glenn is a mastering engineer that I can completely trust with the integrity of any of my mixes. He simply understands the creative direction and improves on it. His signature sound is easily recognizable and seems to be the missing ingredient of all my mixes.

    Grammy Award Mix Engineer Jim Annunziato, New York logos-studios.com

  • Really nice work Glenn on 2Steel Girls EP! If I could do what you do, I’d do it myself…. But I can’t!! Thanks Again

    Producer – Trey Bruce, Nashville www.treybruce.com

  • Incredible Mastering Engineer right here – Glenn just mastered my mix/production for a huge Asian superstar, and he did a world class job. Recommended.

    Mix Engineer – Marc Mozart, Germany www.mixedbymarcmozart.com

  • I highly recommend ITuneAudio. Glenn does a great job, and I easily put him up against some of the great studio engineers I’ve worked with here in Nashville.

    Producer / Artist – Gil Grand, Nashville www.gilgrand.com

  • I’m a Touring Musician with Jamey Johnson, and I recently produced an album  and i was amazed at how Glenn took the songs that had been mixed by 3 different engineer’s, in different environments. Once I received the files back,  was like  the group of songs had a new depth that had not existed before. A polish that connected the songs and I had been struggling with now finally was an album!  Thanks Glenn for saving my ass in a short time.  I’m no stranger to good mastering work, but some of these newcomers claiming they master music and slap a preset on it and don’t have a clue.   Glenn, he posses a God given ability to add life and another level of quality to your audio that you give him.    Thank you again Glenn!  Your work is amazing, my songs will go to you to be mastered from here on!

    Producer / Musician – John Scott, Nashville www.jameyjohnson.com/

  • My favorite thing about Glenn is that he is a musician. His work doesn’t sound technical and processed. He is never the one to just run through the motions. Glenn connects with the track and his musical touches put your focus back on the song rather than the production.

    Mix Engineer – Bob Horn, Los Angeles www.echobarstudios.com/

  • Glenn’s musical approach to my last project was just the touch that it needed!

    Mix Engineer – Joe Primeau, California www.bluemoonstudiola.com/

See all testimonials
  • “Glenn is a true mastering engineer in every aspect of the job description. When you spend countless hours on a project and put your heart and soul into your work, it can be scary letting it go to mastering, not knowing how it will turn out. With Glenn, I don’t have to worry and I have complete faith that he will do what’s truly best for the project, even if it means not doing much to it at all.”

    Recording / Mix Engineer – John Arbuckle, New York www.covecitysoundstudios.com

  • Big thanks Glenn! for putting the ‘icing on the cake’ mastering my new album titled “High Road” being released in 2016. Everything sounds great! (Appeared on American Idol Season 5)

    Artist – Jordan White, Pennsylvania www.jordanwhitemusic.com

  • Glenn mastered a project I mixed and I quickly heard how well tuned his ears are. He provided knowledge and showed patience throughout the process. His work speaks for itself, I highly recommend utilizing Glenn for all mastering needs!

    Mix Engineer James Meslin, New York www.jameslinaudio.com

  • Glenn is a mastering engineer that I can completely trust with the integrity of any of my mixes. He simply understands the creative direction and improves on it. His signature sound is easily recognizable and seems to be the missing ingredient of all my mixes.

    Grammy Award Mix Engineer Jim Annunziato, New York logos-studios.com

  • Really nice work Glenn on 2Steel Girls EP! If I could do what you do, I’d do it myself…. But I can’t!! Thanks Again

    Producer – Trey Bruce, Nashville www.treybruce.com

  • Incredible Mastering Engineer right here – Glenn just mastered my mix/production for a huge Asian superstar, and he did a world class job. Recommended.

    Mix Engineer – Marc Mozart, Germany www.mixedbymarcmozart.com

  • I highly recommend ITuneAudio. Glenn does a great job, and I easily put him up against some of the great studio engineers I’ve worked with here in Nashville.

    Producer / Artist – Gil Grand, Nashville www.gilgrand.com

  • I’m a Touring Musician with Jamey Johnson, and I recently produced an album  and i was amazed at how Glenn took the songs that had been mixed by 3 different engineer’s, in different environments. Once I received the files back,  was like  the group of songs had a new depth that had not existed before. A polish that connected the songs and I had been struggling with now finally was an album!  Thanks Glenn for saving my ass in a short time.  I’m no stranger to good mastering work, but some of these newcomers claiming they master music and slap a preset on it and don’t have a clue.   Glenn, he posses a God given ability to add life and another level of quality to your audio that you give him.    Thank you again Glenn!  Your work is amazing, my songs will go to you to be mastered from here on!

    Producer / Musician – John Scott, Nashville www.jameyjohnson.com/

  • My favorite thing about Glenn is that he is a musician. His work doesn’t sound technical and processed. He is never the one to just run through the motions. Glenn connects with the track and his musical touches put your focus back on the song rather than the production.

    Mix Engineer – Bob Horn, Los Angeles www.echobarstudios.com/

  • Glenn’s musical approach to my last project was just the touch that it needed!

    Mix Engineer – Joe Primeau, California www.bluemoonstudiola.com/

Close

Past Work

Engineers

  • John Arbuckle
  • Bill Whittington
  • Jason Barry
  • James Meslin
  • Jim Annunziato
  • Bob Horn
  • Trey Bruce
  • Johnny Simmen
  • Eric Klee Johnson
  • Johnny Barber
  • Marc Mozart
  • Joe Primeau
  • Lee Hawkins
  • Mark Schroor
  • Sammy Gonzalez
  • John Whynot

Let’s Connect

We'd love to hear more about your project and work on something together

Latest Blog

Compression is your FLAM!

Sometimes when I receive  a mix to master I can hear that the attack setting is incorrect on some of the instruments. If not used correctly it will eat your low note. Too much attack on a kick drum will make it sound smaller. And maybe sometimes you need that, but, if you are wondering where your thump went? it’s likely the problem. Setting your attack too fast won’t let the transient naturally come through as intended. Compression is one of the hardest things to get your head around. Some units have different settings that either work the same or have other options suited for many applications of uses.

Just the other day I was trying to figure out a way to explain to a friend how attack works. And this is how I proceeded to explain it.                                                                                        

I asked my friend to sit behind my studio drum kit. While standing next to him I request him to hit the snare in the center with a typical good hit. Then I asked him to hit the snare with the 2  sticks    with one in each hand at the same exact time. Once he did he noticed the snare was choked or dead sounding. IMO this would mimic the fastest attack possible. I asked for another hit  but this time to  be a flam. Right away the snare had tone again. Ok so a 2 stick hit on the same drum head at the exact same time will make the drum sound very dead and emulate a fast  attack setting. The reason?  Because one of the 2 sticks will stop the drum from vibrating correctly.

Review the snare drum pic during a flam hit, the first stick that hits in a flam is the transient of the note when micing. The second hit is a little delayed in milliseconds and creates the well known  term flam. But more importantly this is  how you can look at how or what attack does. Load in a kick drum or snare hit, set a fastest release and attack, 2:1 – 4:1 ratio and Aim for a reduction  of -3to -6db.

 

  VU meter works best for this because you can watch the needle react to the transient. while the kick is playing, slow the attack down and watch the needle and you will see that between using you ears and watching the    needle you can actually see the attack doing its thing.  Always turn your compressor off and on during the attack settings. The setting I usually start with is 10ms. Doing this will bring back the meat and potato’s of your    kick.

On another tip, this will work on anything!

 

 

 

 

 

 

 

Glenn Thomas

www.ituneaudio.com

Freq. Energy

Truth be known that the loudness war freq live in the 600hz to 3.6k. This is where all the most energy is captured and can translate across just about every playing source. From your mom’s Kitchen radio to your subs in your Car.

The best way to use this is to add the plugin on your master bus. Now I have to be clear, this is not for mastering audio. It is just a great place to have your mix when sending to clients and or your ME. Use the high & low pass filter of your favorite Eq, Setting each at those 2 areas. once in place you can slowly move the lower freq to lower HZ to hear when it all comes to life without the muddiness. Same goes for the K end of the music.

Once those ares are working as desired, using a spectrum analyze watch what freqs shoot above the rest. Once you note the areas, solo tracks in your DAW and see which is creating the over spikes. Keep in mind though the vocals and maybe guitars will be one of the audio tracks creating the spike.  Its a good practice to have caution for that reason since, it actually needs to poke out more then the rest of the tracks.

Warm Audio – WA76

WA76_-_Transparent_background

This is the most exciting piece of equipment I have ever purchased. The WA76 from Warm Audio is outstanding and is the proof in the pudding. Bryce & the Warm Audio team went the extra mile here and I personally think it is changing how us buyers buy. Sure you can have the top name gear and if one can afford the costly slippery slope that follows us, have at it!   But for those of us who have to shop wisely, count nickels, it’s a God send to have such great manufactures like Warm Audio on our side.

 

Research, Blogs, YouTube, are great ways to find out info on today’s releases before purchases. One can watch a shoot-out of different products and even Gearslutz forum proves the amount of feedback to be helpful.  2 units of the WA76 were ordered and I was on top of the world. I had previously owned a Universal Audio 6176 and loved the 1176 side of the unit. The 610 pre side not so much though.  After selling the UA6176 to a guy in Quebec, I began to somewhat start missing it but not enough to pay $2500us for a replacement.

 

I was like a kid at Christmas has I opened the packaging in a hurry and there it was, waiting to be used. I rearranged my rack for the install and had cables already tagged. I was up and running in minutes. One of my clients arrived and he could see I was bouncing like a child needing to pee lol. I brought him into the vocal booth and handed him a pair of headphones.  I said sing, sing whatever, I have something new to try.

 

The mic pre in the chain?  Was the Vintech X73i – WA76 – Apollo Quad.  Wow! I think it sounded amazing on the vocal. It was more forward than anything I have ever used. This thing proved to be a monster after trying the Great River, Rupert Neve Design 511 and others.  Acoustic guitar, Bass guitar all seemed to gel great and beyond. Now I need another pair of these for sure.  I Love em’!

 

Now for the Bonus idea of the WA76!  It has 1-input XLR, 1-input ¼ TRS. So, connection of 2 Mic Pres or anything else is possible but only one of the inputs at a time can run. This makes for easy access and eliminates using a Patch Bay in smaller setups. I think its genius, and the original 1176 never had that feature.

 

Anyway regards of happiness for a UA1176 $2500 vs WA76 $600 for a great product and idea? Don’t let the price tag fool ya!

 

 

Glenn Thomas

www.ituneaudio.com