Delivering professional audio mastering & vinyl pre-mastering for years. Home of Correspondant, Dischi Autunno, Disco Halal, Believe Digital, and many more...
I offer stereo mastering or stem mastering when necessary.
Turnaround time usually sits between 1 and 5 days depending on the workload and your deadlines.
Most of my work is around electronic music and hip hop, but I don't have a will to narrow things down.
I work mainly in the analog domain with outboard gear but won't hesitate to use digital tools when required, of course.
I can deliver digital masters (I'm Apple certified too if that's a concern), vinyl or cassette pre-masters, DDPs if you're still doing CDs.
My rates are fixed and do NOT hide extra costs.
I'm happy to talk first, review your mix before you print the final version if you need an extra help, etc... I believe communication a key of our job and this is all part of the process.
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
- Michel Jonasz
- Jacques Higelin
- Believe Digital
- Jennifer Cardini
- Simple Symmetry
- Man Power’s Me Me Me
- The Juan MacLean
- In Flagranti
- La Mverte
- Holy Ghost!
- Rex The Dog
- Kasper Bjørke
- Marvin & Guy
- Disco Halal
- Adam Port
- Biologic Records
- Pred & Scott
- DC Salas
- Acid Washed
- Ombra Intl
- Cannonball Records
- Max Pask
- Justin Strauss
- Sean Johnston
- Craig Bratley
- Wonder Stories
- Secret Factory
- Pardon Moi
- Klusa Daba
- Clarence Rise
- Bottom Forty
- Dogs & Vultures
- Chez Kito Kat
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Interview with Sam Berdah Mastering
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I'm extremely happy with most if not all projects tbh.
Q: What are you working on at the moment?
A: I've just re-mastered Dustin O'Halloran's first album Piano Solos.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Oh yeah there are probably a lot a friends in there. I'm thinking of my friend Matthieu Brismontier for example who is an amazing producer.
Q: Analog or digital and why?
A: Both. As much as I like the feel of a real knob under my hands and the interaction between machines in an analog chain that gives this "sound", some digital processors today are giving us incredible options as well.
Q: What's your 'promise' to your clients?
A: I will respect your work and make it sound the best I could no matter how big you are.
Q: What do you like most about your job?
A: Working on so much music from many different places is a real gift.
Q: What questions do customers most commonly ask you? What's your answer?
A: "What LUFS did you go for?" I never ever pay attention to LUFS values. I run a calibrated monitoring and will use this to decide how loud I want to go.
Q: What's the biggest misconception about what you do?
A: "We'll fix it in the mastering phase"
Q: What questions do you ask prospective clients?
A: If I can listen to things? What format are they aiming for?
Q: What advice do you have for a customer looking to hire a provider like you?
A: See if you get along when talking first. A good communication often leads to better results.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My monitors, a converter, and then...probably two EQs and one comp.
Q: What was your career path? How long have you been doing this?
A: I was a DJ at first, then produced my own things, done mixing for people and started mastering in 2016.
Q: How would you describe your style?
A: Now that's complicated.
Q: Which artist would you like to work with and why?
A: I would have loved to work for Andrew Weatherall because he's always been a true inspiration and also a great supporter of my work.
Q: Can you share one music production tip?
A: Of course. Don't do things "because that's we do". Think about them first. Also, especially when mixing your tracks, try to take most decisions "in context". Making one stem after the other to sound nice is cool, but this is not what we wanna do. We want to make them sound good together.
Q: What type of music do you usually work on?
A: Club Music probably is 80% of my work
Q: What's your strongest skill?
A: Making things sound punchy without squashing them
Q: What do you bring to a song?
A: I spend a lot of time trying to understand the artists intention and this is what I try to enhance.
Q: What's your typical work process?
A: I would first setup a session and enter markers and metadata while listening to the tracks. Then I would tweak the sources gains to have something consistent and get to my outboards at the level I want. I'd process one track after the other, do some fine adjustments at the end if necessary, adjust markers and fades and bounce. I would then QC and send over the work if I'm happy with it.
Q: Tell us about your studio setup.
A: The most important thing in a mastering setup is monitoring. Understand monitors, room, conversion. I'm happy I can trust my monitoring take good decisions. Then I have 4 EQs and 3 dynamic processors in my rack I can chose from and a range of plugins that I usually use pre-analog chain if necessary for surgical moves.
Q: What other musicians or music production professionals inspire you?
A: Anything from Versatile and/or the late Andrew Weatherall. I love to share views with cutting engineers as well.
Q: Describe the most common type of work you do for your clients.
A: Stereo mastering