Invented and created own circuit and audio signal path. I use custom high-end mastering gear and cabling I can die touching. The sound is extremely dynamic with wide audible frequency range. You would get extremely big headroom sound, that is focused on PA, car and audiophile audio. Any average chart music would sound harsh and dead after.
MFiT included at no extra cost if requested in advance. Unlimited revisions free of charge as long as it is the same mix. I can help budgets with albums and EPs
17 years of professional experience in great mixing and mastering facilities.
Building custom gear, converters, consoles..dozen of high-end compressors and eq's passed thru hands. Made enough money selling unique gear. Kept only the best.
While most mastering engineers are aiming on converters I have developed my own signal path that cannot be copied. My over 10 years of research was about to solve digital plug-in harshness and deadly sound.
Many artists come to me after mastering in big names studios. They come for bigger headroom, saturation and no one actually knows how I do it. This is the secret I would die with and it took me whole life to develop this sound.
Any gear tone availible. I highly recommend to stuck with sound I would create for you in custom 1:1 equipment no one has. Sound is different, very different from we all are used to nowadays. .
If you can't get rid of mediocre mid-range ITB sound - no problem.
Satisfaction guarantee. Forever.
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
1 ReviewsEndorse Andrew Bobrov
Interview with Andrew Bobrov
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Real buddhist monks music for closed meditation centres. I have never worked with professionals on that level before. They sent me an absolutely amazing sounding record with the ultimate headroom. I did the fix and they did love the result. It was something spiritual , not just an average mastering session. Best sound I've ever done.
Q: What are you working on at the moment?
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Andres Mayo, Austin Mount Olympia Mastering, Los Angeles Riley Knapp, Los Angeles MASTERED BY KRAMER, Fort Rudi Dittmann|Ruhrtone Studios, Berlin Reuben Cohen, Los Angeles Tim Boyce : NYC Mastering, New York All these are superb dedicated professionals.
Q: Analog or digital and why?
A: Digital is good medium, way more comfortable to operate then tapes. Analogue is the way it was invented.
Q: What's your 'promise' to your clients?
A: I can do any sound you ask. But always stuck with my vision.
Q: What do you like most about your job?
A: It's intuitive esoteric research.
Q: What questions do customers most commonly ask you? What's your answer?
A: Sometimes they send me fruity loops projects or mp3's. If mp3 is not the only source of the lost project I just ignore these files and don't waste my time on working with fools.
Q: What's the biggest misconception about what you do?
A: People think sound engineers would not change the song. He would just make it sound bigger and louder and all that.. but.. no.. actually mastering engineers are divided by two mainstream specialists. One part of the group is aiming to just give a little or no change to the song itself and just giving it good color and limiting. The second part of professionals are creating just a new song. I mean what's the point of working with me if you can just level up the limiter and you're done. You can upload your song into any online mastering system and get it changed. So I would completely re-do your mix and sometimes it does sound close to the original mix.. but very rare. Usually you would get way different sounding vocals, mix, drums, guitars.. everything would become bright and dark.. well, completely opposite of what automated mastering facilities are offering.
Q: What questions do you ask prospective clients?
A: How loud you want it to be? Do you prefer dirty or clean sound? Gold or silver midrange?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Well, it's all about experiments and reaching something unusual. The moment you would find "the sound" you would know exactly why this or that record is sounding bad. All that loudness wars and itb marketing is meaningless after understanding how different music actually should sound. Do not rely on 1980's technology that was projected instead of cassette deck.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Good question. I would take nothing.
Q: What was your career path? How long have you been doing this?
A: I started recording when I was 14 years old. I was very afraid of sound mixing and always wanted to avoid doing that. Actually, over the years more and more musicians have come to record songs in my home studio. Later I started selling my work and became one of the best sound engineers in the country. Started consulting for top artists, studios and developed my own sound about 10 years ago.
Q: How would you describe your style?
A: Accurate, non conservative, individual and few years ahead of mainstream.
Q: Which artist would you like to work with and why?
A: Well, I wish to work only with talented people who can appreciate my effort and passion into the sound I would deliver.
Q: Can you share one music production tip?
A: Sometimes you must go crazy to create something beautiful.
Q: What type of music do you usually work on?
A: Pop, Charts, Rock, Classic music, buddhism music, metal sometimes, vocals, country, gospel.. well, it's all music.
Q: What's your strongest skill?
A: Hearing and understanding what I hear.
Q: What do you bring to a song?
A: Energy, precision and spirit.
Q: What's your typical work process?
A: Recieving a dull itb record that needs a lot of work to sound pure wide open.
Q: Tell us about your studio setup.
A: Thermionic culture, Tube Tech, Neve, different Class A equipment, custom conversion, custom tube modulation systems, unique tubes, unique transformers and 1980's british console Phill Collins worked on while creating most legendary hits. I do only hardware modulation.
Q: What other musicians or music production professionals inspire you?
A: Ennio Morricone
Q: Describe the most common type of work you do for your clients.
A: I do electric sound modulations to create most vivid sounding mastering.