As much as a cliche it is, good sound is crucial to stand out and compete in this ever overcrowded music arena and to not be lost in all the noise. You've worked hard on your music, poured your heart and soul into it, so let's give your music a fighting chance and let it shine as much as it deserves!
At AtuaMastering we only have one goal with every job we take on, to bring your track to justice. We won't settle for less. We focus on you as an artist, take your goals for your sound, and our experience in mastering to bring together the results you've been looking for.
High-end digital mastering with a focus on emulating analog warmth and lush dynamic sound. A well-calibrated listening environment with a premium sound system for perfect tuning and fine adjustments. Fast delivery time and prices that still leave room for your marketing budget!
Senior Head-Engineer Emil O.Nilsson, experienced producer with a degree in music production and over 12 years of mastering experience.
Send me a note through the contact button above.
Interview with AtuaMastering
Q: What's your typical work process?
A: The first thing is always to listen through the song and check for potential problems within the mix that can come in the way of making the master sound as good as possible. If I find anything problematic I have a dialogue with the artist and see if there's anything that can be done on their end before the mastering begins. The next step is to feel the song out, with its genre in mind (or reference tracks if submitted by the client), and decide what direction the mastering should go, and from there the mastering processing begins. It usually takes 1 day to master, and a 2nd day to listen for any errors or mistakes that slipped through from day one. After that, it'll be sent back to the client for feedback. If the client has any thoughts on what could be done differently we do a revision, this usually takes 1 day.
Q: Analog or digital and why?
A: This will always be a huge debate. But guys seriously, a decade ago analog would win over digital every time. But a lot has happened with technology since then and the digital replications of analog gear that's available as plugins today sound really, really good, and are in some cases impossible to hear any difference from the real deal. Hardware feels a lot nicer when working with it, but when it comes to how it sounds the difference is minimal to none. I only use the best high-quality emulated plugins around, and most importantly, I know how to use them to get a lush sound.
Q: What's your 'promise' to your clients?
A: I always give every project 100% of my focus and I never settle for less than perfect. Neither should you!
Q: What's the biggest misconception about what you do?
A: The biggest misconception I use to hear from clients is that a master should only be in -14 lufs. This is not correct and mastering a track for that loudness will not necessarily make it sound better. In fact, it's often the other way around, to get that mastered feeling and color all big artist's music have, you need to push the track through a certain process of limiting and compression (amongst other effects) and it needs to be pushed at least somewhere between -9 lufs to -7 depending on the sound and genre. While this can be overdone if done incorrectly, I would still say that a song should be louder than -14 lufs. Even if some streaming services turn down the volume of a track, it will still sound good if the master is good.
Q: What was your career path? How long have you been doing this?
A: Been mastering over 12 years! Mastering is a great passion of mine and something that I do literally every day.
Q: How would you describe your style?
A: Wide, phat, colorful, in-your-face sound.
Q: Which artist would you like to work with and why?
A: My favorite thing is to work with upcoming artists that do not have the same resources as big established ones who've got label backing, and yet still make their music sound just as professional. It's always a joy to be able to take someone's music and just enhance everything that makes it shine. I'm not in this for one-time gigs, I like to build relationships with artists and work alongside them on their journey.
Q: What's your strongest skill?
A: Achieving perceived loudness while keeping the dynamics intact so that a track sounds competitive no matter where it's played.
Q: What do you bring to a song?
A: A good engineer should always bear in mind the original idea and feeling of a song, and not deviate too much from the artist's wishes. But with that said, mastering is still about coloring a track in a flattering way for its genre. Mastering without color would be boring and honestly, pretty unnecessary. So every great engineer has their own opinion and taste in what color that really makes a track perfect. What I bring to songs I master is my experienced taste in what I believe good music should sound like. A mastered track should feel alive, almost like you can feel the shape of the sound coming out of the speakers, not just a flat sound with bad limiting clipping the sound in all the wrong ways.
Q: Can you share one music production tip?
A: Train your ears, and always go with your gut! Do not do anything in a mix or production just because someone said so or because it's something you do out of habit. Instead, use your ears to listen if it feels right and if it makes a positive difference.
Q: Describe the most common type of work you do for your clients.
A: We've mastered mostly Electronic music ranging from Chillout to Synth-pop and Psytrance. We're also mastering a lot of Trap and Hip-Hop currently.