Pete Morse : Red Vault Audio

Mastering + Mixing

14 Reviews
Pete Morse : Red Vault Audio on SoundBetter

Enhancing the artists vision through careful audio analysis to produce the best sounding masters. I believe the artist should have options when they let a 3rd party into the creative process. Therefore, I'm happy to offer a test master of 1 song to hear if I'm the right fit for your sound. I welcome the challenge and hope to work with you soon.

Hi, I'm Pete and I'm the owner and engineer here at Red Vault Audio. I've always been involved in a wide range of audio related fields and share an equal passion for the creative as well as technological side of the business. I'm a musician, problem solver and critical listener committed to strengthening sound formats and the emotional impact they have on an audience.

Listening to the clients artistic direction, bringing out the strengths of each song and improving the goosebump factor is what pushes me as a mastering/post production engineer. Furthermore, walking a client through the mastering process is immensely important so they know what they are getting out of the service.

Technically speaking, I've spent years fine tuning the tools at Red Vault. From an acoustically accurate room designed by Lou Clark of Sonic Space to revealing playback through Egglestonworks speakers, I've put myself in a good place to make critical audio decisions.

I offer many different mastering formats and can walk clients through the possibilities from what files you'll need for different online platforms to the files you'll need for CD and Vinyl replication. Reaching out is the first step to create an effective partnership pushing your music to the next level. Looking forward to working with you.

Contact me through the green button above and lets get to work.

14 Reviews

Endorse Pete Morse : Red Vault Audio
  1. Review by Pete Kilpatrick

    I have recorded two albums with Pete and can't say enough about his abilities as both a musician and engineer. He pushed to get the best performances from me both vocally and instrumentally and I'm so appreciative of his guidance.

    I wholeheartedly endorse Red Vault and hope to make many more records with Pete. He is an expert at his craft and I'm so fortunate to have had the opportunity to work with him over the years. Pete is a true professional whose mixing abilities are, in my opinion, second to none.

  2. Review by Lance Vardis

    Pete has done a tremendous job building Red Vault to what it is today. His meticulous attention to detail, equipment choices, and critical ear is second to none. I’m always in awe of his mastery of Pro Tools... Pete’s my go to guy. Oh yeah, and he’s an incredible musician. You won’t be disappointed!

  3. Review by max garcia conover

    pete is great! i've worked with him on a bunch of projects at this point and plan to continue for many more to come. he's thoughtful and engaged and he does an amazing job making even the most lofi recordings sound beautiful.

  4. Review by Jay Brown

    Pete's an amazing talent that my production company uses/has used countless times. He's done everything from helping us salvage audio that seemed like a lost cause, to working with us to make proper productions sound the way they should. I'd recommend to any/everyone to go to Red Vault to get their work done.

  5. Review by Katie Matzell

    Pete Morse at Red Vault Audio was instrumental in getting my first recording project exactly where I wanted it to sound. He exceeded my expectations. His expertise made my mastered EP sound like I was listening to the equivalent of a colorful pop-up book—he brought out subtleties in the live band recording that I thought just naturally disappear in the recording process. He worked ahead of my timeline and made sure I was 100% happy with the final product. Honestly, I feel like I owe him more than I was charged for the final product. Pete is truly gifted and I trust his ears implicitly.

  6. Review by Peter Dugas

    Pete's work is fantastic! He was extremely dedicated to getting the best master out of our material. When we felt satisfied with the sound, Pete went back to the grindstone to make it even better than what we had imagined possible. Highly recommended.

  7. Review by Ben Severance

    My team has hired Red Vault on multiple commercial projects for clients such as Swarovski, New Balance and United Nations. They have brought a deep understanding of sound mixing and design to our projects. I would recommend Red Vault to anyone.

  8. Review by Tyler Stanley

    I have worked with Pete as a performer, an engineer, and a songwriter. He is fully dedicated to his craft, pays amazing attention to detail, has huge ears, and is great to work with. He is a gifted artist. Red Vault Audio will always be my first choice for mastering and recording. And Pete is my go - to for honest, constructive advice on my own songwriting.

  9. Review by Adam Frederick

    Pete is a one of the best. I have worked with him on a number of projects, and I am always impressed by his professionalism, efficiency, and BRILLIANT ears. He hears things that most people can’t perceive. He knows his gear inside and out, and always puts the music first. I can not recommend Red Vault Audio highly enough.

  10. Review by Nicky Rheaume

    I love working with Pete! He's very talented and we've done a bunch of projects together that sound amazing.

  11. Review by Connor Garvey

    As a professional musician, who you team up with is an extension of your art and your profession. I have recorded two career-defining albums with Pete and been a part of numerous other projects where we have utilized Red Vault Audio, every time it's been a positive experience and professional product. I have immense trust in Pete Morse's ability to work in service of both art and profession. His meticulous dedication to capturing and curating the best sound and balancing this with his seasoned connection to the heart of music and sound make the product and the process amazingly strong.

  12. Review by Alex Coppola

    Pete has become an indispensable part of my process as an independent media producer. More than just a skilled craftsman, he's a reliable creative partner who's a pleasure to work with and who approaches every project -- regardless of size or budget -- with the same focus and care.

  13. Review by Gabe Bornstein

    Working with Pete at Red Vault has been a game changer for the work we do at my production company. He brings something special to the table on every project we have worked on with him, taking our direction with great attention to detail while simultaneously bringing his own unique style and ideas. His studio is top notch and always has us feeling right at home.

  14. Review by Adam Flaherty

    Pete Morse is multi talented and a master of his craft(s). I was first introduced to Pete’s skills as and amazing instrumentalist, writer, engineer, and producer, however most of my recent work with him has been audio post production. He is creative and intuitive whether I give him specific directions for a mix or allow him full creative freedom to design a sound bed from scratch. Pete is an absolute pro and a pleasure to work with. I can’t endorse Red Vault Audio enough!

Interview with Pete Morse : Red Vault Audio

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

  2. A: A project I'm super proud of is the album Heavy Fire by The Pete Kilpatrick Band which was done a while back. This wasn't an album mastered by me but it was recorded, produced and mixed by me. I also played guitar on that record.

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

  4. A: That you can fix it in mastering

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

  6. A: I always try and get the backstory to how the album was created and most importantly what the goals are for the mastering stage of the record or song. Obviously what the destination medium is for the songs (online, CD, Vinyl, etc). Dynamics are an important subject to discuss (how loud do they want the songs). Mentioning several albums similar to their style that they think sound excellent is always important for me.

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

  8. A: Make sure your mastering engineer is the right fit for your project. There are a bunch of different sonic ways you can take your mixes so make sure that the mastering engineer is aligned with your vision. While not always offered, test masters can obviously help your decision. The second thing is because we live in an online digital world, make sure your engineer has great communication skills.

  9. Q: Which artist would you like to work with and why?

  10. A: Pink Floyd was the band that first got me into music so most likely them.

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

  12. A: It's not very glamorous but acoustically treat the rooms you work in. The control room is the most important as your room directly affects how you hear your audio coming out of your speakers. This either hurts or assists you in making good decisions.

  13. Q: What's your strongest skill?

  14. A: My strongest skill is my work ethic. Every job I'm apart of is a direct reflection of my work, therefore I work hard to get it right.

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

  16. A: I first get to know the client, do my research and listen to their existing songs in my room. I listen to the direction they want to head in and their goals for their project. It's great to talk about the scope of the work, any questions about the mastering process as well as get into any questions regarding the files they might need for different online platforms. There can be a lot of confusion in that area and I can help there. For mastering, I do offer a test master. If possible I think it's important for clients to hear different mastering approaches to see if it's the right fit. There's no harm there and personally enjoy the challenge if you're being put up against other mastering engineers. That's also helpful in showing the client what is possible and what is not. Elaborating on that notion, IF the engineer/client wants it, I can offer a 3rd party opinion on possible problem areas in the mix in order to make the mastering process more effective. When you work for so long on a project, you can become somewhat unaware of the right balance. Just a simple discussion to offer any tips to make for a stronger mix means everyone can benefit. Throughout the work process it's important to let the client know where things stand, how everything is sounding and any concerns they have. Lastly, because a lot of the communication is done online it's extremely important to be attentive and timely responding to emails to keep communication open and the client in the loop. I'm extremely dedicated to going above and beyond on each project no matter what because everything that leaves my studio is obviously a direct reflection of my work.

  17. Q: Tell us about your studio setup.

  18. A: The room is the most important part of the studio which was designed by acoustician Lou Clark of Sonic Space. For speakers I'm running some amazing Egglestonworks Vigintis. These are powered by some Jones amps I really like and I'm using the Avocet for a monitor control. Other than my playback system, I'm running a hybrid in and out of the box setup for both mixing and mastering. I'm doing all mixing in the box but sending tracks out for summing and then stereo processing (Mastering Chain) back into my DAW which is Pro Tools. My mastering chain is similar minus the summing. I'm using tube and solid state analog processors I enjoy working with as well as high quality plugs.

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

  20. A: To be honest, sincere and to handle their audio with utmost care.

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

  22. A: I like going into work everyday. I also like hearing happy clients sing your praises

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

  24. A: Hopefully the desert island would have Egglestonworks Vigintis, Jones PA-M300 Series 2 amps, Knif Soma, HEDD Quantum, Knif Vari-Mu II

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

  26. A: I try and bring perspective and balance to a song. The number 1 aspect of my job that I love is finding any possible way to bring out the best in the source audio. It can be straight forward or it can be forensic.

  27. Q: Is there anyone on SoundBetter you know and would recommend to your clients?

  28. A: I don't yet, read about SoundBetter in Tape Op and thought it would be a great resource. Thanks to TapeOp for the introduction!

  29. Q: Analog or digital and why?

  30. A: Both for me but whatever sounds good. Shouldn't really matter one way or the other as long as it sounds great and translates well.

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

  32. A: My career path has always been to run a studio. I've been doing this since 2003.

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

  34. A: I am mastering two bands at the moment. One is an acoustic singer songwriter and the other band is an instrumental jazz/fusion group. I'm also working with several agencies mixing audio for online videos. A few of those involve some light sound design work.

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

  36. A: Rock, Pop, Americana, Singer-Songwriters

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

  38. A: I'm a big fan of Mark Knopfler, Bill Frisell, Pink Floyd, Hiss Golden Messenger, The Barr Brothers, Snarky Puppy + Vulfpeck, love Hammock, The War on Drugs, Gregory Alan Isakov, José González, Jason Isbell, Coldplay, Beck... For music production professionals I admire Bob Ludwig and Ted Jensen others would be mixing engineers Tom Elmhirst and Chuck Ainley.

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

  40. A: The most common type of work revolves around enhancing existing audio whether it be mastering, mixing songs or mixing for video.

Max García Conover-Streetlights

I was the Mastering Engineer in this production

Terms Of Service

I usually allow up to 2 revisions if needed to get the client exactly where they need to be sonically. Typical turn around time is between 1-2 weeks. Additional costs for certain files

GenresSounds Like
  • Dire Straits & Mark Knopfler
  • Jason Isbell
  • Beck
Gear Highlights
  • Egglestonworks Speakers
  • Jones Amplification
  • Knif Compressors and EQ's
  • Manley EQ
  • Cranesong Converters
  • Requisite Dynamics
  • Dangerous Signal Processing
More Photos
More Samples
SoundBetter Deal

Test Master of one of your songs and (if you want it) a mix evaluation after being picked as your mastering engineer to troubleshoot any problematic areas.