Chief Mastering Engineer CARLOS ARTURO SILVA 1 Time Latin Grammy Award Winner 1 Time Grammy Award Mastering Engineer Nominee. 9-Time Latin Grammy Award Mastering Engineer Nominee C1 Mastering is the pioneer mastering company in Colombia, with more than twelve years of experience and its studio and suite, C1M is one of the best in South America.
- Equalization (using M&S techniques, Dynamic Equalization and per Channel Equalization).
- Dynamic Manipulation (including Expansion, Compression, Limiting, Leveling and De-Essing).
- Micro and Macro Dynamic Optimization (using Expansion-Compression techniques, separated band work and Edition).
- Stereo Image improvements (using M&S manipulation techniques).
- Artistic Edition (including fade ins/outs, crossfades, spacing between songs, dynamic manipulation, radio edits, parts replacements, etc.).
- Noise reduction, Cleaning and File restoration.
- Premixes Consulting Service (together with the Mixing Engineer, before Mastering stage).
- Stems Mastering (Stems-Multilayer)
- Mastering for Vinyl.
- Mastering dedicated to Radio and TV.
- Mastering dedicated for video aand YouTube at 48Khz.
- Mastering for Internet Delivery and Streaming (Mastered for iTunes).
- DDP Masters (including PQ Codes, ISRC, UPC codes, CD Text and Log written with instructions for Replication Plant).
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
- Toto la Momposina
- Alberto Plaza
- Diomedes Diaz
- Silvestre Dangond
- The Mills
- Sebastian Yepes
- Mauricio Rivera
- Margarita Rosa de Francisco
- Iván Villazon
- Jean Carlos Centeno
- Sexy Lucy
- Ezra Axelrod
- Sarah Dokowics
- Chris Skaggs
- Winslow Stillman
- Alfredo de la Fe
- Classico Latino
- Bendito Parche
- Poncho Zuleta
- Penchy Castro
- Mr. Black el Presidente
1 ReviewsEndorse C1 MASTERING
Interview with C1 MASTERING
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Yes indeed, I´ve been working for years with Felipe Arevalo, who is an excellent Producer/Engineer from a very big label in London, UK called Westone Music Group. We´ve done tons of albums with excellent results.
Q: Analog or digital and why?
A: Neither, you have to build a chain with the best of both worlds. They both give different textures and work for different purposes.
Q: What's the biggest misconception about what you do?
A: That mastering is all about gear and that can be done by anyone in any place. The most important part of mastering is a very well pair of good trained ears, a good set of loudspeakers and an acoustic treated room. It doesn´t matter if it´s ITB or Analog mastering, it won´t work if you don´t have the above.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My Pair of Lipinskis, My Shure SRH1840 Headphones, My Shadow Hills Mastering Compressor, My AD-DA Crane Song HEDD Quantum and my Crane Song Avocet.
Q: What was your career path? How long have you been doing this?
A: I´ve been involved in music since I remember. My father had a huge music collection and at age 5 I was listening to old rock vinyls all by myself. This led me into having a Rock/Metal band in the 90´s. Being in a rock band led mi into Sound Engineering because I was the one member always interested, not only in playing live, but in recording. Studios in the 90´s were very expensive so I build up a home Recording Studio with cassette 2-Tracks and 4-Tracks. The band broke up in the late 90´s but my passion for Sound Engineering grew strong enough to enroll in this career. Early in my career I started working in professional recording studios in Bogota and in 2004 I became owner of one of them. Between 2001 and 2005 I realized how much Bogota and Colombia needed a profesional Mastering Studio (there were none at the time). I had much respect for the job so I flew to Madrid, Spain and studied and worked with one of the most important Mastering Engineers of Europe. When I finished my internship in January 2007 I came back to Colombia with the firm conviction of funding the first Profesional Mastering Facility here in Bogota. And now here I am in C1 Mastering twelve years later stronger than ever.
Q: How would you describe your style?
A: I´m always in search of finding the perfect way to present my clients to the world through their music. We are the bridge between the artist´s music and the fans. That´s what I´m about. Finding what´s the best possible way of entertaining a person. The way to get there is hard work, constant ear training and the best tools available.
Q: Which artist would you like to work with and why?
A: There are so many! Every artist, every song and every album comes with a totally different challenge, that´s what I love about this! But if I had to choose maybe artists like The Beatles, Pink Floyd, Queen, Daft Punk, Sting, Donald Fagen who went further more in production and using studios as an additional instrument.
Q: Can you share one music production tip?
A: Trust your ears, not your eyes, music is about listening, not seeing.
Q: What type of music do you usually work on?
A: It´s curious because i grew up listening to a lot of Pop/Rock/Meta coming from US and Europel and I consider an expert in this genres, but working in studios in Colombia for the last 20 years has made me an expert too in tropical/urtban/folk/vallenato/electro/electropop/fusion/caribbean/pacific and so many genres that come along in our geographic area.
Q: What's your strongest skill?
A: My very well trained ears combined with the best mastering tools working in an almost perfect room with one of the best Loudspeaker Systems in the market.
Q: What do you bring to a song?
A: I´ve been an audiophile since forever. My father was one before me. I have the capablility of knowing exactly how a song should sound in order the exceed client and consumer expectations. I would make your song or album become the best possible entertaining experience.
Q: What's your typical work process?
A: The most important part of mastering is what I call the Mix Doctor. This is a listening test of the Mix before mastering. Here I can see if the mix is ready for mastering or if it needs some mixing tweeks. This comes along with Music Production information I require from the artist/producer/engineers to really know what they´re expecting from mastering. As soon as the Mix is approved we launch the mastering process knowing that the mix is ready and what are the Mastering Goals to achieve. I always look to go further more the clients expectations trying to reach the best sounding results.
Q: Tell us about your studio setup.
A: My Setup is based on what I consider are the best tools on the market in order to guarantee my clients Class A Mastering Results. I have a proper acoustic designed room with Lipinski Loudspeakers. On the analog processing I have Crane Song, Shadow Hills, Elysia and Black Box Analog Design. On the Digital processing I work with Weiss, Izotope RX and Ozone, Waves and Steinberg with Wavelab Pro 9.5 as my DAW. We have the new Crane Song HEDD QUANTUM for A/D D/A conversion. The most important piece of gear are my very well trained ears. Without them nothing above will make any sense.
Q: What other musicians or music production professionals inspire you?
A: I´m inspired by Legend Mastering Engineers such as Bob Katz, Bob Ludwig, Brian "Big Bass" Gardner and Nick Litwin (with whom I studied and worked in Mastering Mansion Madrid.
Q: Describe the most common type of work you do for your clients.
A: Stereo Mastering for a lot of Genres.