15 Years of experience on Mix and Mastering Engineering. Available for digital and analog projects. Only available for Mix and Mastering.
Mix+Mastering for Vinyl, Digital or Stream.
I offer an affordable service for Artists and Electronic Music label, with no compromise on quality!
Delivery in 5 days or 24 hours (Express).
All music treated considering the standard of -14dB LUFS to a maximum of -10db LUFS on electronic music. I always make sure to preserve the dynamic integrity of the original sound.
About the mix+mastering process:
-narrow or widen stereo image of individual elements according to their priority.
-correct small errors in mixing
-eliminate unnecessary clicks and pops
-equalize the individual elements according to their function on the track
-eliminate muddiness or harshness
-remove phase issues or technical mistakes
-balance the overall spectral response.
-raise the overall volume of the track (RMS)
-crest factor correction
-make your music sound good on any device
Three revisions included.
Any additional info feel free to ask.
Send me an email through 'Contact' button above and I'll get back to you asap.
5 ReviewsEndorse Fernando Fragoso
Interview with Fernando Fragoso
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: One of the latest was the Mix and Mastering of Roland'Sousa - Empty Time. The difference is huge. Both i and Roland got very proud of the result. I also run a label and do all the mix and mastering, with great reviews about the sound we release.
Q: Analog or digital and why?
A: Digital for almost anything. Analog for character processing, vintage saturation, etc.... But Digital have greater SNR than Analog which means greater dynamic depth. Also is less susceptible to sonic inconsistence. Valves not always act the same way. They could act in a way or another depending on their temperature. The subject is for a long talk. I know, i know, analog, warmth... That is not an analog thing. Warmth is a consequence of harmonic distortion.
Q: What's your 'promise' to your clients?
A: If you're not satisfied i give your money back.
Q: What do you like most about your job?
A: I've always loved to improve things.
Q: What's the biggest misconception about what you do?
A: Louder is better. Use compression in everything. Compressors should be used wisely. On most cases producers do more harm than good with them. A good dynamic kick usually makes a much better final sound than a compressed kick. Its all about the mix.
Q: What questions do you ask prospective clients?
A: Do you want it to sound punchy or balanced, fat or flat?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Render carefully all the tracks and check them all before you send. The less time i use to manage your files, the more time i use to craft your music.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: hi-end headphones, laptop, a generator connected to a bike, a microfone and a chair.
Q: What was your career path? How long have you been doing this?
A: 20 years as a producer, 15 years on the mix and mastering craft.
Q: How would you describe your style?
A: Accurate, balanced and detailed.
Q: Which artist would you like to work with and why?
A: Bessone, because knows how to listen tips and tricks. He focus on what matters, the result.
Q: Can you share one music production tip?
A: Dynamic sound bigger and fatter. Its all about the contrast between peaks and valleys. Sudden power changes have greater impact than overcompressed music.
Q: What type of music do you usually work on?
A: House and Techno
Q: What's your strongest skill?
A: Solve frequency conflicts, manage the space of every element of the mix.
Q: What do you bring to a song?
A: Tone, punch, crispiness and flow.
Q: What's your typical work process?
A: Get all the files, organize them first to have a good insight of the content in my mind and being capable of doing changes without needing to search for the individual tracks. When i need i know where they are in the session. Then, minor corrections of phase according to the role of any instruments on the mix, etc..
Q: Tell us about your studio setup.
A: A treated room (the most important part of my gear) A trained pair of ears (also important) And 3 pairs of speakers to get different references.
Q: Describe the most common type of work you do for your clients.
A: Mix and Mastering