S.D Mastering

Producer, Mixing & Mastering

1 Review
S.D Mastering on SoundBetter

'Without giving too much away, He has been praised for creating audio power that stands nothing short of Supreme in a modern industry. Whilst also being described as a secret weapon of the northern sound engineering circuit.'

A competitive, transparent & un-imperious mastering service for artists, producers and record labels of progressed standard. The assistance i'm offering relies on perception and a hand crafted work ethic that aims for perfection.

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1 Reviews

Endorse S.D Mastering
  1. Review by Elisabeth E.

    Sam is a phenomenal musician and technician. I’ve had many people mix and master my music over the years and Sam has definitely been the best, I wouldn’t trust anyone else with my music now. Sam is easy to work with. He’s passionate and dedicated and he really cares about the work he does. He’s also a brilliant drum programmer! Hire him.

Interview with S.D Mastering

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

  2. A: Collaborating and working with Brandon Frieson in LA

  3. Q: Tell us about your studio setup.

  4. A: - Stereo Adams A7X Monitors & Adams Sub 7 - Empirical Labs EL8-X Distressor (Stereo Pair) - Drawmer 1961 - Vacuum Tube Equaliser - Bettermaker Mastering Limiter - Shermann Filterbank 2 - Scarlett 18i20 Interface - Sontronics Sigma - Vocal Ribbon Microphone - Sontronics STC - 1S Stereo Pair - Korg Minilogue - Moog Sub Phatty - Logic Pro X - Pro Tools - Software for days, including industry standard orchestral programmes for arranging

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

  6. A: My skills lie predominantly in my studio where I take on remote mixing and mastering work

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

  8. A: I'm producing an entire album for Elisabeth Elektra. The project of Elisabeth Oswell from Glasgow.

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

  10. A: I'm fairly new to this i'm afraid.

  11. Q: Analog or digital and why?

  12. A: Both have their merits. Merged together they sound incredible, digital stereo imaging is brilliant merged with analog percussion and bass. The final gloss should be analog I feel however.

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

  14. A: Total transparency and customer satisfaction. I organise Skype calls for international clients and phone calls for UK clients. There are free edits for unhappy customers with guidelines on what i've done and advice for budding bedroom producers.

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

  16. A: Getting to hear all the incredible projects people are working on. (Of any level)

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

  18. A: The most common question is can you make this sound loud.. And I answer: I will bring out all parts to make it clear, however it sounds the best around -8RMS.

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

  20. A: The low price suggests an amateur end product

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

  22. A: What are your favourite artists? Have you any guide tracks? What would you like bringing out? Do you want slight gain to add to the energy of the track?

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

  24. A: Do not look at the most renowned studios on reputation. They do not respect artists of more progressive levels. Shop around and speak to people directly to know you will get someone who is passionate about helping you achieve the sound you want.

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

  26. A: Elektron Octatrack Manly Slam Juno 60 Shermann Filterbank 2 ADAMS A7X

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

  28. A: My career path was in music publishing, however two separate companies I worked for went into administration, due to artists that weren't involved with sync (only radio plays and gig royalties). This made me then re-consider and follow my creative studio abilities, which were also more appealing to me anyway.

  29. Q: How would you describe your style?

  30. A: My own personal music writing style is soundtrack music, It has been described as an amalgamation of Bon Iver, James Blake and The Haxan Cloak

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

  32. A: Bobby Krlic. He has been an inspiration for a long time and is doing some mad current projects. Very excited with his collaborative work on the upcoming Midsommar title.

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

  34. A: Do not exceed your RMS levels.

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

  36. A: Electronic music of all genres. Soundtrack to Lo-fi to dance.

  37. Q: What's your strongest skill?

  38. A: Producing something professional: From the initial spark to the final product ready for marketing.

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

  40. A: I make songs of all genres and ability stand out and sound professional in a unique way.

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

  42. A: I take on as much as I can and answer as many questions as possible about the direction the artists music wants to take. I will write and edit for free if the artist should want me to contribute creatively also.

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

  44. A: James Blake, The Haxan Cloak, Kursa and Sandy Finlayson


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GenresSounds Like
  • Synth Pop
  • Electronic
  • Metal
Gear Highlights
  • ELX-8 Distressor (British Mod - Stereo Pair)
  • Drawmer 1961 Vacuum Tube Equaliser
  • Bettermaker Mastering Limiting
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More Samples