All details to be found at masterworksaudio.co.uk Mixing and mastering using industry standard analogue mastering gear.
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Interview with Masterworks Audio
Q: What are you working on at the moment?
A: I'd have to kill you if I told you.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Only just joined!
Q: Analog or digital and why?
A: Sorry but both. Some things just sound better through analogue, some things need the surgical clarity of digital.
Q: What's your 'promise' to your clients?
A: Satisfaction or your money back.
Q: What do you like most about your job?
A: Working for myself and listening to music all day.
Q: What questions do customers most commonly ask you? What's your answer?
A: Can you fix my mix at mastering?
Q: What's the biggest misconception about what you do?
A: ...that the mix can be fixed at the mastering stage!
Q: What questions do you ask prospective clients?
A: Do you like dogs?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Shop around, ask questions.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A Neumann mic, Universal Audio mic pre, prism audio interface, Manley Massive Passive EQ and Maselec compressor...is the computer included??
Q: What was your career path? How long have you been doing this?
A: Luckily I look younger than my face reveals! About 20 years from musician, to recording engineer, to mix engineer to mastering engineer!
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Mix engineer on Dark Sky's Imagin album. Mainly because the boys are mini geniuses. It was a real eye-opener to work with writers that pay SO much attention to the smallest detail.
Q: How would you describe your style?
A: Clean and powerful!
Q: Which artist would you like to work with and why?
A: I've worked with Dark Sky, so happy there. Otherwise Aphex Twin.
Q: Can you share one music production tip?
A: Buy some Sennheiser HD650s so you can hear what's going on in the low end (or use a frequency analyser to shave off unwanted sub bass that sucks volume out of your track).
Q: What type of music do you usually work on?
A: As a mastering engineer, literally all forms of music.
Q: What's your strongest skill?
A: A good ear.
Q: What do you bring to a song?
A: Depth, clarity, excitement, volume.
Q: What's your typical work process?
A: Mix, review, master, review. That's it. To work concisely is to work intuitively.
Q: Tell us about your studio setup.
A: Mixing is done all 'in the box'. It then goes out via Prism converters into the analogue domain in through pristinely clean Maselec eqs and comps and if a little flavour is needed then is passes through a Manley valve eq and vari mu compressor, back through the prism and into the digital domain. Monitoring is done via PMC IB1S powered by Bryston amps. Lovely.
Q: What other musicians or music production professionals inspire you?
A: Paul Epworth is a bit of a hero of mine. From his remixing days as 'Phones' through to his current projects, the guy is a genius. There are no real rock n roll mastering engineers. I hope to change that!
Q: Describe the most common type of work you do for your clients.
A: I get asked to do a lot of mixing these days. I guess it's because I can also supply the mastering and add that beautiful analogue touch. A mastering engineer that knows how to mix is ideal because the mix will be optimised knowing what is needed at the mastering stage.