Bespoke Audio Mastering

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

A: I'm proud of all the work I do, full stop. I work hard to really help artists and producers realize their vision. Whether their release is for major label release or a personal project I help to insure it feels/flows musically and it sounds as good as it possibly can.

Q: What are you working on at the moment?

A: Mastering is something I work on daily.

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

A: I'm sure there are many excellent people available but it's very dependent on the content that is being assessed/worked on.

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

A: Do I provide mastering samples, is a common question I get. Not generally, my work is available to hear on all streaming platforms so you can easily check out what I do. That said, if warranted I'll do a sample for the right project.

Q: What questions do you ask prospective clients?

A: What are the project goals, what media will the project be released on, is there a theme or thread that the artist wants me to be aware of, and anything else the artist wants to share about the project from their perspective.

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

A: A computer, an Apogee Symphony IO AD/DA, a Dangerous EQ, an elysia Nvelope, and a Bettermaker Darth Limiter

Q: What's your typical work process?

A: I start by having the client tell me about their project. Once I'm clear on the project and the medium(s) to be mastered for, I'll listen to the whole song completely and take notes on anything I notice that I may want to address. Afterwards I'll check the song against any reference tracks that have been provided. Once I'm clear on what I needs to be done and how I want to approach it, I generally start with checking the phase of the file. Next I do analog processing, I'll start there doing EQ, compression, limiting, or even a simple pass through my analog chain to add a bit of warmth and/or color. Once the analog adjustments are made, the song will be tracked into Wavelab for further digital processing, if needed, and and final limiting that might be necessary or desired.

Q: Tell us about your studio setup.

A: Dedicated mastering studio. Kii Three and Genelec speakers. Avalon, Dangerous, elysia, Bettermaker, Schiit, Apogee, SLL, Chandler, and custom built hardware. "In the Box" I use Izotope RX and Wavelab as my main editing platforms. My machines are also loaded with Pro Tools, Logic Pro X, and some great plugins from A.O.M., Acustica Audio, Fab Filter, Good Hertz, Izotope, Melda Production, Oeksound, Softube, Tokyo Dawn Records, and more.

Q: What questions do you ask prospective clients?

A: What the project goals are, what media will the project be released on, is there a theme or thread that the artist wants me to be aware of, and anything else the artist wants to share about the project from their perspective.

Q: What do you bring to a song?

A: I bring polish, special sauce, fairy dust, whatever you choose to call it. I enhance that special connection with your audience. You also get the security of knowing that any song I master is ready for competitive commercial release.

Q: Analog or digital and why?

A: Either and both. There are some things that are easier to do in the analog world and some are easier in the digital world. I go to analog for some tasks and in the box for others. I use the tool that is best for the job at hand, and it's great to have options.

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

A: I've been doing mastering for 20+ years. I was always playing with sound as a child, played in some bands as a teenager, eventually I got into mixing and production. Over time mastering became my main field of study and practice.

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

A: All types of music come across my desk, I am comfortable with all styles, genres, and idioms of music.

Q: What do you like most about your job?

A: Audio engineering is my purpose, and one of the things I like the most about mastering is helping people realize their artistic vision.

Q: How would you describe your style?

A: "No way as way..."- Bruce Lee. I do not have a style, I adapt to what is needed at the time. As a mastering engineer, my style is to be transparent and let the artist's work have its best chance to shine through.

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

A: That I'll do my best to help you realize your art.

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

A: I think one of the biggest misconceptions about mastering is that we can make a bad mix sound great. We can make it sound better, perhaps, but if a mix sounds bad it isn't ready for mastering.

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

A: Be clear with communication and have realistic expectations.

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

A: There are far too many to list... but working with artists when they are breaking new ground doing something really different or challenging is probably my favorite work experiences.

Q: Can you share one music production tip?

A: Communicate your wishes clearly to your mix and mastering engineers. Do not be afraid to ask for clarifications and be prepared to potentially hear some hard truths about your mix, stems, pre-master, etc. It's the job of your engineer to be honest, transparent and clear. When communication is bi-directional and clear everyone achieves the best results.

Q: What's your strongest skill?

A: Active listening.

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

A: I do stereo/two track and stem mastering.

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

A: Sylvia Massy, Brian Lucy, Jonathan Wyner, Bob Katz, Emily Lazar, Matt Azevedo, Glenn Schick.