Sound your way. Drift-master your music.
We believe every artist sounds unique, and the mastering process should accurately resonate it into their project. This is Drift Mastering. You tell us what you think and feel, we give it back to you in an objective, but also sensible, manner.
(50% off Winter promo!)
Stereo Drift Mastering
$50 per song (regular $100)
$250 per album (regular $500)
Stem Drift Mastering
$100 per song (regular $200)
$500 per album (regular $1000)
What is included:
- Free master sample and free assessment
- Fast turnaround (1 to 3 days)
- Mastered for Spotify, Apple Music, Soundcloud, Tidal, YouTube
- EQ, compression, limiting
- High quality WAV/AIFF/MP3
- Album Sequencing
- DDP Image/ISRC
Tell me about your project and how I can help, through the 'Contact' button above.
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Interview with Drift Mastering
Q: What's your 'promise' to your clients?
A: Let's make it sound your way!
Q: How would you describe your style?
A: A practically no-style. I don't think I should overlap my style with that of the artist, who is the one to shine. This is why I call my service drift mastering: let the music and the artist sound their way, naturally, organically.
Q: Which artist would you like to work with and why?
A: Rush and Steven Wilson, among so, so many others. They are great references when it comes to music and sonic quality.
Q: What's your strongest skill?
A: Do my best to achieve what the artist is looking for not only in sonic and dynamic terms, but also in accordance with their music expectations.
Q: What's your typical work process?
A: I receive your final mix along with you/your music bio. I listen carefully to your music, read your info, take notes, and deliver to you a free master sample as well as a free assessment. Like it or not, let's talk so we can find your sound in your music. Now we're talking about drift mastering!
Q: Tell us about your studio setup.
A: I mostly work with in-the-box tools (plugins), but also can process your sound through an analog chain.
Q: What other musicians or music production professionals inspire you?
A: Rush; Yes; Jimi Hendrix; Porcupine Tree; Steven Wilson; Boston's Tom Scholz; Blake La Grange, just to name a few out of so many other artists and music production professionals who have taught me so many things in many ways!
Q: What do you bring to a song?
A: The final professional touch the song needs before it goes out to the world.
Q: Analog or digital and why?
A: Both, but you know what? This doesn't really matter. Mastering is about the results, not the process. I could run your final mix through analog gear and not get you satisfied.
Q: What do you like most about your job?
A: Listening to other people's creative works and making part of them as a privileged collaborator.
Q: What's the biggest misconception about what you do?
A: There are people who think mastering can fix issues in the final mix. A good mastering engineer will do their best to work in collaboration with the artist and the mixing engineer and only will spill out a master from a real final mix.
Q: Describe the most common type of work you do for your clients.
Q: What questions do you ask prospective clients?
A: Tell me about you and your music. What are your expectations about your music? How do you think my services can best serve you? What is your preferred color? And your favorite food?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Get the most of your final mix by mastering it with a focus on you and your music.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Two good equalizers, two good compressors, and one nailing limiter.
Q: What was your career path? How long have you been doing this?
A: I've been a hobbyist musician for more than 30 years. I always loved to get the most of my guitars in terms of tone, and to perfect that everyday. I also adventured a little with synths, spending nights to program just a couple of patches. Now, after mastering hundreds of songs, I decided to offer my services professionally.
Q: Can you share one music production tip?
A: This can sound commonplace (and it is, indeed), but the best the artist can do is to get the most of the final mix, because it is the best print of their music. Up to that point, the artist achieved 90% in the project. The remaining 10% is up to the mastering process, which is meant to enhance the final mix in ways to make it outstanding, with a sense of completeness.
Q: What type of music do you usually work on?
A: Professionally, I don't have any preference; my goal is to work in close collaboration with the artist.