I am glad that you have found here, because together we can spread more good sounding music into the world. If you want to know more about me first, then you can learn more here. In short: I have more than 20 years of experience as a producer and sound engineer. Your music is in good hands.
On this page I explain how I can make your music sound better and what I have to offer exactly (and at what price). You are very welcome to contact me via the contact form, I will always try to answer all your questions as good and as quickly as possible. I’m a very solution-oriented guy by nature, and I always try to get you there as fast and effectively as possible, because there is nothing more valuable than your and my time.
Check out what some of my clients say about my service:
Another awesome job!
Kiz Pattison, DJ & Producer
Best results possible
Mark Betteridge, Change Underground
George Pritchard aka. Jawjee, DJ & Producer
Thank you for the masters!
Hernàn Cattaneo, DJ & Producer
Your mastering is getting big praise!
Brent Lawson, Pro B Tech Records
The masters sound brilliant I have to say. Really sound fantastic.
Luka Sambe, Producer
Very cool master, thanks!
I am delighted with you, with your way of being and working
A pleasure to work with
Ryan Sullivan, DJ & Producer / Head Sound Engineer at Red Bull Studios, Capetown
Jawkized Sound System, Production collective/band
F U C K !
Someone who didn't want to get mentioned
Affordable High-End Service
Of course, it’s always also about the cost of things. I need to eat, so do you, and I wanna make sure we both do. A good service has its price, and you mostly get what you pay for, they say. My rates are within the very affordable range, yet absolute high-end quality, because I generally like creating opportunity. Your success is mine.
In case all of this doesn’t work for your wallet, talk to me and we see what’s possible.
How Do I Master?
My most important tools are my ears. Then experience with music and sound plays a big role. I love great music sounding as good as possible, so that is a big factor, too. Good music that sounds bad kills me.
My aim is always to seize the fabulous advantages of the analog world combined with the best of the digital world. I’m not a gear junkie at all — tools are just tools, and replaceable — but I certainly love my favorite weapons of choice. My typical mastering chain consists of the best of both worlds, analog and digital. This way I get the big, fat, warm, deep, rich and exciting sound of the analog universe, and the visual aid and precision of a digital finish. I listen on YAMAHA HS8 studio monitors to have the most natural, precise and unspectacular sound image. Speakers that sound “too good” are liars when it comes to mastering, your audio has to sound great on every system.
If in doubt, I’m happy to create a free demo snippet of my work (from your audio) before I lay my ears, hands and heart on your entire product.
Listen To Results
Here you can hear something I’ve cut to make the differences clear between unmastered and mastered. You hear a few bars each unmastered and mastered, always alternating, through the whole song. I mastered the song in 2017 after Tigerskin asked me to.
Here’s the finished and mastered song with its amazing music video:
Like the track? Buy it here.
Please, use this form to get in touch with me. I will get back to you as soon as possible, depending on my work-load.
What I Need From You
- Lossless file(s) of your mix(es), either AIF(F) or WAV, no other file formats are suitable.
- Minimum 44.1khz and 24bit (32bit isn’t necessary) for a CD master, depending on the purpose of your project, higher sample and bit rates might be required. Why at least 24bit when a CD can handle only 16bit? Because the basic noise level is much lower at 24bit compared to 16bit. This allows more dynamics in both the mixing and mastering stage because you can work with lower volumes and a better headroom handling, simply because you have less noise going on that you need to overcome. I will down-sample to 16bit for CD afterwards.
- Please, make sure your sound file has a minimum headroom of 6db. Headroom is the range between the nominal level (in our case -6db) and the maximum level (0db). It’s not a problem if there are single, few peaks above the nominal level of -6db, but in no case should there be peaks hitting the maximum level of 0db. This will lead to unwanted damaged transients (tips of the waveform). The transients are cut off and important audio information is lost, and the missing parts are perceived as distortions. This is something that not only is hard to fix but also something that is very difficult to master. I will take care about your music sounding loud without destroying the actual music and its transients. Don’t make it look like one block, let your music be natural, let it breathe. Please.
- Deactivate ALL mastering plugins — such as maximizers/compressors/limiters — both on the individual tracks and on the master output, unless it’s absolutely necessary for the music’s character of sound. A good mix doesn’t need a lot of mastering! I know, it’s very tempting to boost things with nice compressors and stuff to make it sound as punchy and present as possible, but that’s the mastering engineer’s job. Create a mixdown that sounds as good as possible without any help of mastering plugins or devices and bounce/export/render it to a WAV or AIF(F) file. This way I can get the best out of your music with my mastering.
If you need me to mix your music down, it’s basically the same process (for you). I can also do your effects and automation, cleaning up and riding vocals and instruments.
Q: Do you also master DJ sets?
Q: I’m lost when it comes to mixdown. Where do I start?
A: Start mixing the loudest or most “booming” elements, like a kick drum or a fat bass line. The low frequencies should be your reference objects. Try to place your bass somewhere between 45 and 70hz, kick drum above at around 80 to 110hz. I wouldn’t really recommend anything below 40 hz. In case of dance music, it will only create a true mess on the dance floor. Although it can make sense with other kinds of music! In the mixdown process, work your way up to the mid and high frequencies respectively, always using the stuff below (in frequency) as reference. Imagine an upside-down pyramid (triangle) and pan sound in the room more the higher the frequencies become. Bass frequencies can be almost mono up to 300hz, because they have not much effect on stereo anyway.
Q: Why does my music sound good on system XY but shit on system YZ?
A: There’s a simple rule. What sounds great on a shit system will sound awesome on a great system. When it comes to your own monitor speakers, try to have the most natural (dry and unspectacular) sounding speakers (and amplifier/audio interface/whatever) as possible. Speakers that sound “too good” don’t give you the right picture of your music. They make it sound better as it is. The good old Yamaha NS10 always work wonders, what sounds right on them sounds right everywhere.
Q: Can you do mastering from MP3 files?
A: No. It will never sound the way it should. The encoding to MP3 takes away a lot of audio information that actually should be in the music, that’s why it’s so much smaller in file size. MP3 strips off valuable parts of music.
Q: Do you add all sorts of proper tags and artwork to the mastered files?
A: Of course, whatever you wish and need.
Q: Can you deliver all kinds of file formats?
A: You get all file formats, lossless or compressed, you wish to have. Everything in the best quality possible and asked for.
Q: Can you polish/restore/clean up old recordings?
A: Theoretically, I can improve everything. But the result really depends on the individual material. I myself, as a producer, used audio of a public speech from Mahatma Gandhi from the 1920’s (with kind permission from his family). It sounded awful when I got it, and now it sounds quite amazing in the music. Have a listen.
Q: Can you make digital music sound like vinyl?
A: I totally can.
Q: Are you as good as [fill in random superstar mastering egineer]?
A: I don’t know. You decide, make up your own mind by trying me. I’m absolutely confident that I will satisfy you.
Q: How long do you need to master my track/EP/album?
A: Usually a day, sometimes a two, maximum a few days, under normal circumstances. There are unexpected work-overload situations, but even then it’ll be maximum a few days.