Canadian studio founded 1972 by Doug J. McKenzie, also rented out to other artists and productions. Headquartered in the Rexdale neighbourhood of Etobicoke, Toronto, Ontario. Sometimes written as [Master's Workshop]
Engineers have included: Doug McKenzie (2), Cam Shearer, John Dell, Steve Vaughn, Paul Massey, Tim Archer, Bob Predovich, Cam Shearer, David Stock, Brian Eimer
The team of Ken Husain, John Scott, Cameron Shearer and Bob Predovich of the Soundmaster Group received a Scientific and Engineering Award for the design and implementation of the Soundmaster Integrated Operations Nucleus operating environment. The citation for Soundmaster is extra weighty in that audio awards have generally been more scarce than image-oriented prizes at the Oscars. The audio specialists behind the Soundmaster Group, and previously Masters Workshop, have been developing their sound solution since about 1983 and the system has been used widely in Canada since the mid-’80s. ion took longer to gain a foothold in Hollywood, but with the move into digital theatrical formats, like sdds, the studios began to move toward digital technology in the sound arena, and the Soundmaster system, says Predovich, allowed them to move toward digital at their own pace. The Soundmaster system provides audio post facilities an integrated audio/picture synchronization capability which is workable with a number of different formats. Predovich describes it as a ‘universal translator’ that seamlessly integrates various post sound technologies and allows facilities to work with the most appropriate tool for a given task. ‘The system makes it look to the end user like there is one universal standard, even though there are numerous standards,’ he says. Major studios including Disney, Universal and Sony have invested in the system, which was used recently on projects like Small Soldiers and Lost in Space.
Originally had 2 rooms, Studio A & B. Also did occasional location recording. One of its specialties was post audio mixdown of live concerts. In the 1980s it became more heavily involved in film and was noted as the first studio to provide a digital soundtrack for IMAX. It added another room for IMAX sound as well as six foley suites. Since the 1990s it has focused mainly on film and television soundtrack recording and mixing.
Sold to Maclean Hunter (later known as Rogers Communications) sometime in the late 80s, ownership returned to McKenzie in December 1997.