Adam Dempsey Mastering

Audio mastering specialist

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23 Reviews (12 Verified)
Adam Dempsey Mastering on SoundBetter

29 years specializing in professional audio mastering, Adam offers service-focus, attention to detail, and dedication to the unique needs of your project to bring out its best.

One of few mastering engineers in Australia to specialize in music mastering, Adam Dempsey has been privileged to work with artists on thousands of national and international releases across all genres, including Gold and Platinum certified, ARIA Award, Australian Blues Award, International Acoustic Music Award, Jazz Bell Award, and Music Victoria Award winning and nominated releases, not to mention countless projects receiving radio airplay.

With attention to detail and a collaborative approach to mastering, Adam is also an Apple-accredited Apple Digital Masters (formerly Mastered for iTunes) provider and an active supporter of independent artists and independent radio.

All artists are treated equally, with equal rates and effort to accommodate deadlines.

COVID-19: In accordance with COVIDSafe efforts, mastering sessions are limited attendance, or online.

Stay safe. Collaborate. Create.

Send me a note through the contact button above.

Credits

AllMusic verified credits for Adam Dempsey
  • Grace Cummings
  • Chasing Ghosts
  • Mess Esque
  • Jae Laffer
  • Jae Laffer
  • Angie McMahon
  • Lloyd Spiegel
  • Angie McMahon
  • Lloyd Spiegel
  • Didirri
  • Glen Wee
  • Jeff Lang
  • Orbweavers
  • Aaron Choulai
  • The Weeping Willows
  • Paul Kelly
  • Charlie Owen
  • Lloyd Spiegel
  • Nick Batterham
  • The Bon Scotts
  • Nick Batterham
  • A Dead Forest Index
  • Gossling
  • Yeo
  • Orbweavers
  • Orbweavers
  • Lloyd Spiegel
  • Jordie Lane
  • Lee Memorial
  • Dom Cooley
  • Luluc
  • Neil Murray
  • Way Out West
  • White Lion
  • Osh10
  • Lloyd Spiegel
  • Plastic Palace Alice
  • Jack Dahlqvist
  • Lisa Maxwell
  • Nick Charles
  • Nick Charles
  • Nikki Teeuw
  • Apell
  • Clann Zu
  • Ray Brown
  • Joe Chindamo
  • Swifts
  • Pot-Pourri
  • The Baylor Brothers
  • The Sand Pebbles
  • Guernica
  • Pellarin
  • Vanishing Point
  • Oil Tasters
  • Chasing Ghosts
  • Chasing Ghosts
  • Simon Hudson Band
  • Daniel Champagne
  • Grace Cummings
  • Alex Watts
  • Jae Laffer
  • Alice Skye
  • Dru Chen
  • Tim Reid
  • Peter Ewing
  • Peter Knight
  • Dung Nguyen
  • Jae Laffer
  • Georgia Fields
  • Grace Cummings
  • Grace Cummings
  • Chasing Ghosts
  • Eilish Gilligan
  • Way Out West
  • Lloyd Spiegel
  • The Bon Scotts
  • Tiny Little Houses

23 Reviews - 3 Repeat Clients

Endorse Adam Dempsey Mastering
  1. Review by Bonded J.
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    A breeze to work with and a great final product! Thanks Adam

  2. Review by Emma N.
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    Adam is awesome! This is my third time working with him and he is incredibly knowledgeable, professional, and so easy to work with. Great communication and I'm so happy with how the songs turned out! :)

  3. Review by Chad Y.
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    Sounds warm and lovely.
    100% pro and with lots of patience

  4. Review by Emma N.
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    This is the second time I've worked with Adam and he's fantastic - great communication, very professional and easy going, and I'm so happy with the product! Will definitely send my future projects his way!

  5. Review by Anna W.
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    Adam was a breeze to work with, so professional but also very kind and clear in his communication. A great mastering engineer!

  6. Review by Emma N.
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    Adam is amazing - incredibly professional, made sure I felt completely listened to and was super easy and wonderful to work with. My tracks sound great and I'm so happy with the magic he worked on them! I'll definitely be sending my future projects his way!

  7. Review by Juhan Ongbrian
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    Adam mastered another track of mine. He did a wonderful job cleaning up some issues in the mix and improved the sounds overall. Really happy with the result. Looking forward to work with him on more projects!

  8. Review by Juhan Ongbrian
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    This is my first time working with Adam. His mastering work is definitely amazing! He preserved the energy and dynamic of my track, and adds subtle colors and warmth to the track (It's a Jazzy song, with organic instruments like drums, bass guitar, guitar, etc). He is also very communicative throughout the whole process and very helpful. Will definitely work with him again very soon.

  9. Review by Jordan S.
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    Adam is an absolutely incredible audio mastering engineer, I would recommend him to anyone!! I had two songs that I needed to be mastered, and was referred to him by a friend, and I would 100% refer him myself after my experience working with him. Extremely communicative, patient, flexible, and took our songs to a new level while still preserving the authentic vibe and dynamics of each piece. Couldn't be happier with the final product.

  10. Review by Melle B.
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    Really professional, fast delivery and great results!

  11. Review by Richard A.
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    Another stunning master. I shall be using him all the time!

  12. Review by Richard A.
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    Excellent mastering engineer. Came highly recommended and disappoint. My track is sounding as professional as they come, will be using him in future.

  13. Review by Gerard Sidhu
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    Adam is an absolute pleasure to work with and a excellent mastering engineer! We've worked together on quite a few jobs and his work is always stunning.

    I highly recommend him!!!!

  14. Review by Gerard Sidhu
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    Adam is an absolute pleasure to work with and a excellent mastering engineer! We've worked together on quite a few jobs and his work is always stunning.

    I highly recommend him!!!!

  15. Review by Gerard Sidhu
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    Adam is an absolute pleasure to work with and a excellent mastering engineer! We've worked together on quite a few jobs and his work is always stunning.

    I highly recommend him!!!!

  16. Review by Connor H.
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    Every mix I bring to Adam is received with attentive ears, honest words and incredibly constructive feedback when asked. This has helped me greatly as an artist/mixer and the Masters ALWAYS come out sounding beautiful.

  17. Review by Nick Batterham
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    by Nick Batterham

    I’ve lost count of how many albums we’ve worked on together. I really appreciate what he adds to my projects. When you’ve poured your heart and soul into a recording, Adam's musicality and attention to detail does justice to all the hard work that’s gone before. Can’t recommend him highly enough.

  18. Review by Art Pleasley
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    by Art Pleasley

    Adam is a literal magician. Over the past 5 years, every track I’ve sent to him has come back - usually within a day - as the exact mix I uploaded, yet somehow (I’m assuming through a patented blend of alchemy and voodoo) no less than 200% better. His ear for detail and nuance is astounding and I look forward to working with him again.

  19. Review by Benjamin Riley
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    by Benjamin Riley

    Adam has become my port of call and the first engineer I recommend. He is very thorough, has good ears and is ultimately empathetic in his process. Thanks Adam

  20. Review by Callum Barter Mix Engineer
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    Adam has years of experience and a beautiful musical touch to mastering. He has mastered countless mixes for me over the last 15 years.
    Highly recommend.

Interview with Adam Dempsey Mastering

  1. Q: What's your 'promise' to your clients?

  2. A: I'll always listen to you and your music and give my best. Nothing gets rushed – it's more important to get it right. 100% attention to detail (my phone is even on Do Not Disturb while mastering).

  3. Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

  4. A: Recent releases also for vinyl LP for Lloyd Spiegel, Angie McMahon, The Weeping Willows, and Jae Laffer all sound great: minimal processing, nothing done for the sake of "loudness", retained at high-resolution – the definitive versions! (Most issues with vinyl are on the playback end: keep your records clean, use the best cartridge you can afford, ensure it and the tonearm are adjusted properly. Combined with *active* listening it can sound amazing).

  5. Q: What are you working on at the moment?

  6. A: I respect the client's/artist's right to announce news of their upcoming releases. It's just not the mastering engineer's right or role to spill the beans. Trust is earned.

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

  8. A: That mastering involves radically changing the recording in order to make the client happy with their music, or that it's a "fixed" process.

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

  10. A: A great (lossless) collection of music, a decent solar powered DAC/amp, and my Audeze headphones (as speakers would require on a great room. How much bamboo or timber is on this desert island?!

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

  12. A: I "fell" into it, as many do, originally believing I'd be a studio mix engineer. As a musician (trombone and drums – not at the same time) and volunteering in public radio as a teenager, I had many temporary jobs (farm hand, a book shop, helping install TV antennas) leading to casual jobs running cables, boom mic work, live sound. It all helped give an excellent grounding in attention to detail, serving people, meeting timelines. In '95 I landed a job mastering for cassette tapes alongside a cassette/CD factory. About a year later, promoted to CD Mastering and audio restoration. (we were the first studio around offering burning to CD-R, when they cost $30 each! Our first dedicated audio drive was 4GB and cost around $1,000). 11.5 years later (2006) I took the leap to go freelance with the opportunity to work at a dedicated mastering facility at Deluxe Mastering, very fortunate to be able to specialise in this craft and always learning.

  13. Q: What do you bring to a song?

  14. A: That final 3-10%. Less is more in terms of processing, but also whatever it takes. Honestly it's as much about what's *not* done in the mastering stage – it really is all about the song, the arrangement and the recording/mix. If the artist/client isn't happy with that yet, then it's not ready for mastering! We're also a final "gatekeeper" – ensuring we're working from the correct and best possible sources from the outset.

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

  16. A: Ensure you're really happy with your mixes so far! Listen to the *exported* mix files to check for errors, and in mono (part of mixing, really), and on both small and large systems. The better your mix (ie: the closer to your sonic aims), the better your master will be. Let your mastering engineer know of any specific aims or concerns. Oh, and having your mix files labelled properly (eg: title_version_format) always helps. If you send the wrong version for mastering, possibly on a deadline, how will your mastering engineer know? All of this WILL save you time and extra costs.

  17. Q: Analog or digital and why?

  18. A: Really great analog (i.e.: high headroom, low noise, well maintained) can beat poor digital, just as great digital (high resolution, avoid aliasing distortion) can beat poor quality analog(ue). The same goes for vinyl vs digital audio playback – there doesn't need to be a "vs"! If you have vinyl records, chances are they've had expertise and quality control applied at every stage.

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

  20. A: What format should I send you? A: Well, if you have a professional mixing engineer, guess what? It's their role to take care of that! Failing that, or if you're self-produced: 24 bit, or 32 bit floating point stereo wav files, kept at the native sample rate, no peak clipping, normalizing, maximizing, 16 bit dither, or fades (include an MP3 as a reference to match fades if needed).

  21. Q: What's your typical work process?

  22. A: Listening and communicating with the client as much as necessary. Listen more. Set up the sound, take a quick break, and hone it from there. Create the necessary formats and quality control check those. Dot the i's, cross the t's – and don't forget the j's! Make no assumptions.

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

  24. A: Every project is a clean slate with unique needs. The job is always to bring out its best – hearing first where it needs to go and then finding the right "code" to unlock it!

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

  26. A: Everything from independent pop, rock, and folk music, to hip-hop, contemporary jazz, chill wave and electronic pop sub-genres. Like many artists, however, I tend to not consciously analyze what genre a project is – the music simply tells you what it needs, and what its sonic boundaries are.

  27. Q: What questions do you ask prospective clients?

  28. A: Are you happy with your mix(es) so far? Do you have any comments/concerns about them? Are you unsure, or need a recommendation to a mixing engineer ideal for your project? (the better your mixes the better your masters!). What formats to do you need and when do you need them?

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

  30. A: Time. Give yourself time for breaks – keep it fresh. No rushing. Keep it enjoyable.

  31. Q: What other musicians or music production professionals inspire you?

  32. A: I'm inspired by anyone who writes and creates amazing and original, engaging music. Manufacturing goosebumps is a large part of what we're all in it for. Arrangements that are engaging, and mix engineers who can take it to the next level – typically mixes that move and are not static, drawing you in and capitalizing on those arrangements. I respect the work of many pioneering mastering peers including Doug Sax (RIP), Greg Calbi, Bob Ludwig, Dave Collins, Bernie Grundman.

  33. Q: Tell us about your studio setup.

  34. A: Full range, time aligned, non-flattering monitoring is what it's all about. A dedicated room, custom processing. Although I can think of only one time in the past decade when an engineer was intent on using a specific piece of equipment. The results and serving clients is why people entrust you with their project.

Terms Of Service

All work is guaranteed. Rates include all digital masters securely uploaded. Masters from revised mixes or delivery: extra cost. Late cancellation fee (less than 48 hrs): 25% of the quoted amount.

GenresSounds Like
  • Angie McMahon
  • Matt Walker
  • Josh Cashman
Gear Highlights
  • Custom monitoring and signal path including Duntech
  • Desiére
  • Manley Labs
  • Sontec
  • Forssell
  • API
  • Crane Song
  • Chandler Ltd.
More Photos
SoundBetter Deal

Projects include all digital masters! 16 bit, 24 bit HD wav files, MP3s, and CD Master (DDP Image) if required.