"My dedicated Room is custom tailored with acoustic treatment that correct's the room anomalies , and compliments the stereo image of my current monitor set. I have been using this monitor set up and "in the box" method for years allowing me to quickly make decisions that translate well on all playback systems so the listener can just turn it up"
My name is David Cottin and I'm a Mastering Engineer/audio analyst. I specifically work with mastering of music but also specialize in audio restoration of field recordings, old degraded recordings and anything in between. I also perform full DDP creation/meta data organization for final master CD's for print factories.
Send me an email through 'Contact' button above and I'll get back to you asap.
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Interview with DC Audio Mastering
Q: Describe the most common type of work you do for your clients.
A: The most common type of work i get is music mastering for world-wide release.
Q: What other musicians or music production professionals inspire you?
A: I get inspiration from other mastering engineers that have made a new for themselves in the music industry. Such engineers as Bob Katz,
Q: Tell us about your studio setup.
A: I am a completely digital in the box mastering studio. I have a dedicated room that is treated with mastering in mind.
Q: What's your typical work process?
A: I typically get a song to be mastered from a client, i then go through my listening process first before applying any mastering processes. When processing i am constantly a/bing the track at a level-matched volume so as to properly decipher the change that was made and decide if it was a good or bad change.
Q: What do you bring to a song?
A: Pure cleanliness. A clean, loud, and non-fatiguing sound to your mix
Q: What's your strongest skill?
A: My strongest skill would be finding resonant frequencies that often muddy up a mix.
Q: What type of music do you usually work on?
A: I generally work on heavier rock music however i am not limited to only hard rock. I have worked on many genres.
Q: Can you share one music production tip?
A: When mastering always listen to the changes that you make at a level-matched comparison. A boost in EQ can add gain to the master and when you compare it to the original you will likely always saw that EQ move was good . If you level match the processed track compared to the original track you will be able to hear the real difference that the EQ move made, and then you can decide if it was a good or bad move.
Q: Which artist would you like to work with and why?
A: As a mastering engineer i dont generally work directly with the artist but i would love to work with top mix engineer Chris Lord Alge
Q: How would you describe your style?
A: My style is very analytical. I am not trying to put my fingerprint on a mix but to make the mix as clean as possible and balanced as possible for playback on all sound devices.
Q: What was your career path? How long have you been doing this?
A: I have just started this about one year ago but have been doing mastering in one way or another for the past ten years.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Manley massive passive, Kii 3 monitors, Console 1, RME adi2pro, Acoustic bass guitar
Q: What advice do you have for a customer looking to hire a provider like you?
A: Make sure you are completely happy with your final mix. Your final mix is all i will have to work with.
Q: What questions do you ask prospective clients?
A: Is there anything in particular that you want fix or done to your track? Do you want it perfectly clean with no noise at the start and tail of the track?
Q: What's the biggest misconception about what you do?
A: The biggest misconception is that i don't use analog gear therefore it wont sound as good. Simply not true!
Q: What questions do customers most commonly ask you? What's your answer?
A: What file do you want the pre-master? anything that is lossless .wav is most common.
Q: Analog or digital and why?
A: Definitely digital!! Analog sounds great but i have found that i don't necessarily want any color in the final master. My mastering philosophy is the master must be clean and unchanged, but sound better than the pre-master.