Being objective to the music and bringing a new perspective to the sound My profession is mastering and I'm a Mastering Engineer. I only focus on mastering and thats why I get hired.
Maor has an extensive background with the international music industry - He is well aware of the various music styles and sounds that are developing vastly as the today's technology develops.
To Maor, being a mastering engineer is the best way possible to combine his love and passion for music, with his various skills- objectivity, subjectivity, and technical & artistic prowess. He finds pleasure in his job, more than anything, thanks to the variety of music and sounds he gets to master from all over the world. It is a profession he takes pride in, and masters.
Send me an email through 'Contact' button above and I'll get back to you asap.
Reviews (3)Endorse Maor Appelbaum Mastering
Delighted to book a guy who has worked with the Bizkit! (Plus with a history of mastering that speaks for itself)
Awesome mastering, great session, dope results & a cool experience! A*
Maor is the only mastering engineer I work with. Why?? Just because he is the best I have had chance of work with.
He pushes your mixes further adding depth and punch, he always respects the music he's working on... I recommend him for all kinds of music!!
It was a pleasure to have Maor master our album! Not only did he make it sound great, but he brought a great level of professionalism along with it. Thank you Maor!!
Interview with Maor Appelbaum Mastering
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The new Faith No More album - Sol Invictus Mastering It was a pleasure working with a band I appreciate so much, on their come-back album in 18 years.
Q: Analog or digital and why?
A: Every domain has it's pro's and con's. Whatever fills the needs of the project is better.
Q: What's your 'promise' to your clients?
A: I'll take their project with personal care.
Q: What do you like most about your job?
A: The challenge every project brings. Making a difference for others. Giving them of my value.
Q: What's the biggest misconception about what you do?
A: It's not just about making it loud.
Q: What questions do you ask prospective clients?
A: What format is it being released as? When do you need it? Any specific guidelines or needs?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be honest with me. Communicate as much as you can. Help me help you.
Q: How would you describe your style?
A: Musical and vibrant.
Q: Can you share one music production tip?
A: A good arrangement makes a big difference. It can make the sound better, both musically and sonically.
Q: What's your strongest skill?
Q: What's your typical work process?
A: My process revolves around communication, Reviewing and listening Communicating with the client to understand their needs Figuring out what the music needs and what signal chain fits best Mastering it and sending to the client Reviewing it with the client Revising if needed
Q: Tell us about your studio setup.
A: My set up is comprised of several analogue and digital hardware signal chains, from which I chose depending on the needs of the project. A lot of my gear is custom / modified. I have over 10 different compressors, 10 different limiters, over 10 different equalizers, several clocks, and 2 mastering consoles. Not that I run through all of them at once - each device has specific purposes, I have 6 converters to choose from. Some transparent, others change the character of the sound in musical ways. My room was designed by Jonathan Scheffer. It's home to a magnificent pair of PMC IB1S, on a Bryston 4BSST2, Neumann KH310s and a pair of Reftones. Many companies come to this critical listening environment to test and review their gear. It gets warm in here.
Q: Describe the most common type of work you do for your clients.
A: I bring an objective and fresh perspective to their project. Acting as a mediator between the production and the listener's experience. It's all about making the listener's experience more engaging. The last stop for any technical or creative decisions. Putting that final touch. Making it feel like a record.