My approach to mastering (2008-present) utilizes critical and intuitive listening skills formed from first-hand experience in a diverse range of music.  The understanding of resonance, frequency, dynamics and signal flow follows.  All of this combined with close communication with the artist, label or project is integral to the longevity of the final version.

::Client Shortlist::

µ-Ziq, Rob Garza, Answer Code Request, Mathew Johnson, XLR8R, Kate Simko, Sebastian Mullaert, Fred P, Wata Igarashi, Mike Shannon, Yann Novak, Julia Govor, Arma17, Varg, Dragon’s Eye Recordings, Forest Drive West, Seth Troxler, Lawrence, DeWalta, Fluxion, Vril, Roman Flügel

For question - quotes - scheduling ︎

PRE MASTER TIPS______________________________________________

- Mix:  Mastering rarely makes a poor mix better.  You should like your mix before submitting for mastering.  Dynamics over loudness in your mix allows the mastering stage to optimize the final listening experience.

- Headroom: leave as much headroom as possible. Ideally -6db, minimum -3db.  Avoid processing final mix with limiting or over-compression for the sake of loudness.

- Listen: Listen to your final mix before submitting for mastering.  Distortion, glitches, hacks and crackles can be mistaken as part of the music.


- Final or current album track list / sequence:

- Mastering notes:  (ideas, concerns, or suggestions that could be useful during the session)

- Album or song references to A/B during the session: (ideally the same artist +  downloadable link)