Hearing is Believing, "Take it to the Max!"
Music Mastering Services
"Maximize Your Sonic Spectrum with Us"
Providing musicians, composers, film makers & Podcasters a cutting edge sound using hybrid mastering tools w/ commitment & dedication to all clientele
We are dedicated to providing our customers with the best service & products available. Our staff is committed to serve our clients needs without exception.
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Interview with Riley Sound Labs
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Im very thrilled to have worked on an EP from Elypsia Records Called Dirty Rules Crew featuring Orlando Voorn Christian Bonori & Ricky Sinz. This Album debuts my first ever EP that was cut onto 12' vinyl. it was mastered here at my studio and then sent to brussel and the Lacquer was cut at Translab. It was an honor to be involved in the project and is proof that our studio does provide mastering that translates well onto vinyl.
Q: What are you working on at the moment?
A: Currently working with many artists on some tracks for them, Mr. Levi, KoCheese, Michi Knoop, Baran Kaya, a few tracks with Audio Drive Studio
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Baran Kaya - Great Musician. I like his sound immensely and I hope that we can work together on a project soon.
Q: Analog or digital and why?
A: Both! Hybrid mastering is the way. I prefer to use the best tool for the job at that time. Every project is different and should be treated without bias one way or the other
Q: What's your 'promise' to your clients?
A: I promise to be supportive and committed to them no matter what happens. I promise to provide my client with the best possible results I can provide on time & on budget.
Q: What do you like most about your job?
A: I like being able to work with people and projects from all over the world regardless of Genre or location. I love the joy my clients get when there projects shines out of the rest of them
Q: What questions do customers most commonly ask you? What's your answer?
A: How loud should the final mix be? - Answer As long as the project isn't clipping I can work with it. Ideally if this final mix is at around 16 dB RMS that is loud enough to prevent high noise floor and quite enough allow for headroom for master - If the track is to loud or to soft don't just turn down the master fader and send it over work through your mix so that the master buss doesn't clip or isn't to quiet when the fader is at unity gain. What sample rate should I send you the project at? Answer: Send me the native sample rate of the project. when producing a track the engineers involved should all be on the same sample rate. recorded a vocal for example at 4416 that means that the rest of the track needs to be recorded and mixed at 4416. likewise when your finished you should submit to me what the native sample rate and bit depth is. Don't change it and also equally important. don't let one of your daws like protools change it for your either - Sample Rate conversion can destroy fidelity of a file if poorly or incorrectly done let us help you with that with our converters if necessary. .
Q: What's the biggest misconception about what you do?
A: Biggest misconception about mastering is that we are miracle workers. that the mastering will save the mix. The reality is Garbage in Garbage Out. The best way to get a great master is to have a great mix the best way to have a great mix is to have a great arrangement. the best way to have a great arrangements is to have phenomenal tracking, instrumentation & performers. All of that combined is what makes a great master. A Mastering engineers job is to the final creative touch of sonic harmony while simultaneously providing honest neutrality without prior attachment.
Q: What questions do you ask prospective clients?
A: What is it you are looking to receive from the mastering process.What deliverable formats do you need for distribution. Is there anything you wish to tell me about your project before we get started.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Please make sure that the final mix is in the better possible condition you can make it and that it is completely finished. If there are still any changes to be made to the project make them before submitting them for mastering, changes to a mix will great impact a master. Always make sure that all your files are properly labeled Artist_Song Name_FinalMix(version)1.0_(Samplerate/BitDepth)4416 . Provide us with the track information, people involved label ect,primary point contact. In addition feel free to provide a mastering engineer with a reference track and or comments of what is it you are looking to receive from the mastering process.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: PMC MB2s w/ Mcintosh 402, Cranesong Quantum Hedd (converters ADDA), pair of Spectra Sonics V610s, Weiss EQ-1DYN & the latest Macbook Pro. Being that the question is on a desert island though I would sub the PMCs & Mcintosh amps for my SPL Phonitor 2 and the set of Audeze LCD-X headphones which I love, the rest of the equipment mentioned above would also be there along with a very powerful generator and a huge reserve of Diesel fuel to keep it all running.
Q: What was your career path? How long have you been doing this?
A: My Career started very early on at age 17 working at Dolby Labratories in San Francisco before it was a publicly traded company from there it took me into editing commercials television locally from there I quickly started working in Los Angeles as low level grunt in post production sound for feature films slowing getting into better and better roles of being an asset manager and editor ect. At a certain point I even was asked and accepted an opportunity to become an authorised dealer of PMC LoudSpeakers, Bryston Amplifiers & Prism Sound hardware/software. From the beginning till today I've always been passionately obsessed with the quality and fidelity of sound. creatively, I have been producing electronic music since I was 15 and still today occasionally dabble with my modular synth and logic pro to explore new ideas - Its my chess board. Regarding how I got into mastering begins with the idea and reality that the best contribution I can provide to a project is constructive neutrality. I understand the professional uses of the technologies and the purposes they are to be used for during all aspects of the creative process, from tracking, production, arrangement/editing, mixing, mastering/distribution. To put an number on it I have been involved in professional audio for 23 years.
Q: How would you describe your style?
A: I am here to provide sonically dynamic fidelity for all that desire it.
Q: Which artist would you like to work with and why?
A: Ideally I'd like to work with an artist or client really that understands the concept that music does sound better when multiple people of collaborate on a projects. When artist wheres all the "hats" per say there isn't an opportunity for much perspective. Regarding mastering it is a service that is all about perspective we are there to provide a final ear of neutrality. An ear that isn't attached to every intimate aspect of its creation. think of us as your ultimate HiFi enthusiast who listens more than we make an adjustment to what has already been created.
Q: Can you share one music production tip?
A: When mixing a track - Mix it don't Mix/Master it. Never put a limiter on your master bus while your producing, tracking, mixing or arranging a project EVER. Instead work harder on each track you have focus on your arrangement. if your project is missing something and you cant figure out what, dive deeper into your arrangement for better harmony. if your sonically not satisfied uses your busses/send more effectively to group particular tracks together to get where you want to be rather than taking the easy path of putting a limiter on the master bus. Final Tip: treat every part of the creative process as its own never try and do it all at once find a linear way for doing it that works best for you. - All of this will help you tremendously in the mastering phase
Q: What type of music do you usually work on?
A: As a mastering engineer I work on what is given to me. The lab is a place for all genres to feel welcome and successful.
Q: What's your strongest skill?
A: Gain Staging & Client Relations
Q: What do you bring to a song?
A: The goal of our studio is to give our client the best possible fighting chance to stand loud and proud amongst all other musicians in their genre whiles simultaneously providing a place for them to call home. A friendly studio that is available not other for mastering but also for guidance and support during any part of their journey.
Q: What's your typical work process?
A: From one project to the next. We begin with a careful review of the submitted material from a client to make sure that it is ready to be mastered. From there if everything is ready, the content will get prepped for master ing and then run through our console. In mastering the goal for us it to provide a unique way in which to get the clients content a competitive level and spectrum for all to hear. All physical adjustments to equipment for a particular project are then stored using Session Recall which help store and catalog how the resulted were achieved.Once the creative process is complete in that regard, the assets are then reviewed and analysed for quality control. if acceptable Fades are made where needed and then the files are gathered and processed for delivery according to the clients deliverable request - ie specified sample rates & bit depths.
Q: Tell us about your studio setup.
A: The Studio is built to provide professional mastering services using the most accurate and precise tools available. By providing my clients with the competitive edge the need with the finest hand selected tools and acoustics. the setup help them all stand out better than most. Acoustically the room is full treated from floor to ceiling without compromise. Having installed professional acoustical bass trapping panels 6-17" thick as well as sophisticated design of diffusion the room provide an excellent environment to make critical designs. As for the equipment no compromises here either. The focus at the lab is to provide the best methods available to achieve "Max Headroom" results through quality gain staging techniques.
Q: What other musicians or music production professionals inspire you?
A: Vangelis, Herbie Hancock, Quincy Jones, Robert Plant, Hans Zimmer, Robbie Robertson, Rabbit in the Moon, Sasha, James Horner,
Q: Describe the most common type of work you do for your clients.
A: I provide Mastering services for my clients, This includes master for music, podcasts, commercials & gaming.