MASSIVE Mastering

Mastering done the right way.

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2 Reviews (2 Verified)
MASSIVE Mastering on SoundBetter

Audio mastering is arguably one of the most critical, but often the most misunderstood part of the audio production process. MASSIVE MASTERING can give you the professional results you desire at rates that make indie labels blush. This isn't a “cookie cutter” service... Serious results, in a dedicated mastering suite, with a reasonable price tag.

Contact me through the green button above and let's get to work.

Credits

AllMusic verified credits for John Scrip
  • Entheos
  • Black Map
  • The Skull
  • Khalid Hanifi
  • Earthen Grave
  • Suffocation
  • Karate High School
  • Jacco Muller
  • Jacco Muller
  • Iron Thrones
  • Daddo
  • Kim Stratton
  • The Turn About
  • The Duncan Fish Speakers
  • Sarah Mac
  • Julius Adams
  • Kevin M. Buck
  • Gun Panther
  • Half Massive
  • The Archaic Revival
  • Mynista
  • Jennifer Haines
  • Suburban Riot
  • Davis Bridge
  • Adam Fallon
  • Project: Storm
  • After the Sirens
  • Opposition Party
  • Abe Quigley
  • Theodore D. Kuik
  • Debris Inc.
  • Secular End
  • Jacco Muller
  • Artur Trajko
  • Jacco Muller
  • Artur Trajko
  • Jacco Muller
  • Artur Trajko
  • Jacco Muller
  • Artur Trajko
  • The Radiators
  • Subsonic
  • DeGennaro Guitars
  • Metal Militia
  • Metal Militia
  • Metal Militia
  • Metal Militia
  • Fallen Wisdom
  • Fallen Wisdom
  • Vignola
  • Vignola
  • Vignola
  • Vignola
  • Vignola
  • Vignola
  • Vignola
  • Vignola
  • Anand Clique
  • Manowar
  • Manowar
  • Sudden Thunder
  • Brian Futch
  • Spillage
  • Good Co
  • Haberecht 4
  • Mynista
  • The Malvinas
  • Radiophonic
  • Mynista
  • Marilyn Duncan
  • Space Vacation
  • Dear Artemis
  • Odyssey of a G
  • Bruce Balmer
  • Lisa Markley
  • Tom McKeown
  • Heather Humphrey
  • Jeromy Acton
  • ToddX
  • Below the Sound
  • Odyssey of a G
  • Blackfinger

2 Reviews - 1 Repeat Client

Endorse MASSIVE Mastering
  1. Review by Casey M.
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    John is my go to for mastering and I am never disappointed!

  2. Review by Casey M.
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    I trust and recommend MASSIVE Mastering to anybody who wants amazing sounding masters. John is a very responsive, transparent, and experienced professional and offers a great service at a great price! I'm so happy to have found someone I can trust to master my music.

Interview with MASSIVE Mastering

  1. Q: Analog or digital and why?

  2. A: Both. Digital has come a long way since "the old days" and "the turn of the century" -- I hardly miss tape anymore. But I haven't found substitutes for some of my analog gear. I'll record digitally, I'll mix digitally. But the mastering session almost always includes analog processing.

  3. Q: What do you like most about your job?

  4. A: Variety. Some days I'm working on a veteran artist's 15th album, other days a budding artist's first release, other days editing and compiling 30 tracks for a dance company's next touring season or working with a music director to come up with the tracks that will make up that season.

  5. Q: What questions do customers most commonly ask you? What's your answer?

  6. A: Q. How much headroom should I leave? A. Some. How much isn't really important in the world of 24+ bit digital audio. Mixes that "naturally" (without limiting or excessive buss compression for the sake of volume) don't clip. Whether that winds up with your source mixes occasionally hitting near -1dBFS, or down around -6dBFS, or all the way down to -20dBFS. It really doesn't matter.

  7. Q: What's the biggest misconception about what you do?

  8. A: That "mastering" = "making it loud." True, mastering is when the final apparent level is decided. But it's one of the last concerns. A monkey with a limiter can make any recording "loud" -- Most recordings have a certain "loudness potential" and it's far more important how to go about reaching that potential than just making it loud for the sake of being loud. It needs to translate across the widest possible array of playback systems. It needs to be within the specifications of the medium.

  9. Q: What advice do you have for a customer looking to hire a provider like you?

  10. A: Check references. Watch out for the scammers. I see sites all the time with "Our award-winning engineers..." and such that never lists who those engineers even are. Fake client lists, fake gear lists, questionable credits, photos, etc.

  11. Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

  12. A: (1) My main EQ - It's a custom unit based on the earlier Sontec and GML designs. Fully-switched, mid-side, the whole 9. (2) Rupert Neve Designs Portico II Master Buss Processor. Can't live without it. (3) Crane Song HEDD 192. Still one of the best converter sets ever. (4) My Tyler Acoustic Decade D1 loudspeakers. What good is a bunch of gear if you can't hear it accurately and consistently? (5) My ears. :-)

  13. Q: What was your career path? How long have you been doing this?

  14. A: Started out as a studio rat in my late teens (mid-1980's). Specializing in mastering since 1995.

  15. Q: Can you share one music production tip?

  16. A: You're probably tracking too hot.

  17. Q: What type of music do you usually work on?

  18. A: Just about anything.

  19. Q: Tell us about your studio setup.

  20. A: A freakishly well-controlled space with some of the finest monitoring available (Tyler Acoustics Decade series D1 towers). A carefully selected collection of analog and digital processing.

  21. Q: Describe the most common type of work you do for your clients.

  22. A: Mastering mostly - Editing also (many dance companies - they never use an "off the shelf" version).

Gear Highlights
  • Crane Song
  • Manley
  • SSL
  • Dangerous Music
  • DBX
  • Sony/MCI
  • Z-Sys
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