MASTERING

In the studio, I’m not afraid to get down to work and dig as deep as it takes to make the end result perfect. At the same time, I also know when not to touch something if everything seems to be in order. If necessary, I’ll send the mix back to the client along with some improvement ideas if I think it’s not quite ready for mastering in its current form. In other cases as well, I’m more than happy to tell my clients about anything noteworthy that came up during the mastering process, which will make easier work of future projects for all concerned.

As a rule, my mastering services are solitary toil. I’ve optimised my listening for a single stool, which enables uncompromised acoustic spatial design and, on the other hand, a lower expense structure. I like to work on things in peace and without disruptions. In general, the client’s presence is only required at the point of putting together the album as a whole using ready-mastered tracks, which is when decisions are made on song gaps, fade-outs, etc. I do, of course, have insight and experience in this area as well and can do this part independently as well. These days, files and emails can be sent to and fro so niftily.
Naturally, while I’m at it, I can create the DDP files and the metadata for digital files in line with the Redbook Standard needed for CD replication, the necessary file conversions, the master files required for Mastered for iTunes, for example, as well as the file types used by other streaming services.

The vinyl format currently enjoying a renaissance will also be treated right by me. It’s not enough to just send the same digital files into the vinyl press as what you need for online services and CD replication. Vinyl is a physical format whose mastering calls for a different approach and some sensitivity to avoid e.g. mechanical restrictions becoming an issue, so that the end product can be played at its full potential in this format as well.