Mastering engineer at Propeller Mastering in Oslo, Norway.

With a background as a classical trumpet player, my passion has always been within music and arts. I started as a mastering engineer at the age of 21 and have worked with music spanning from classical and jazz to metal and RnB. I currently work at Propeller Mastering in Oslo doing projects for labels such as Universal Music, Warner (and former EMI), Sony, as well as indie labels.

My credits include

AllMusic verified credits for Morgan Nicolaysen:

  • Ketil Bjørnstad
  • Ketil Bjørnstad
  • Atomic
  • Atomic
  • Albatrosh
  • 1B1
  • Jaga Jazzist
  • Wardruna
  • Pixel
  • Hanne Hukkelberg
  • Pixel
  • Ole Børud
  • 1982
  • Ine Hoem
  • Bendik Baksaas
  • Mopti
  • Pixel
  • I.P.A.
  • Adam Douglas
  • Sudan Dudan
  • Skadedyr
  • Skadedyr
  • Espen Eriksen Trio
  • Huntsville
  • Einar Stray Orchestra
  • Ole Børud
  • Poing
  • Racing Heart
  • Eyolf Dale

Gear highlights

  • ATC SCM100 ASL
  • Lavry Gold AD122-96
  • Merging Horus DA
  • Crookwood console
  • Fairman TMEQ

Genres I specialize in

Terms of Service

Depending on current workload, I try to deliver single masters within 2-3 days. Album lead times is approx 2-3 weeks. 1 revision included. Mix feedback also available prior to mastering.

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Interview with Morgan Nicolaysen

What was your career path? How long have you been doing this?
I started out as a classical trumpet player and started recording and live sound engineering during my high school years. After high school, I started studying recording and mixing with Bruce Swedien. After audio engineerin studies I got headhunted by one of the major mastering studios in Oslo. After working there for 4 years, I joined the team at Propeller Mastering in 2009. Have been mastering full time since 2004.
What do you like most about your job?
Working with talented artists, producers and engineers together with my great colleagues.
If you were on a desert island and could take just 5 pieces of gear, what would they be?
ATC speakers, Merging Horus, Neumann U67, DMG and Fabfilter plugs, espresso machine
Can you share one music production tip?
Imagine your sound field as a big canvas or a movie screen. Use the entire canvas and just not the middle of it. Break the rules!
What type of music do you usually work on?
Jazz, classical & film score, folk, pop, rock, soul
What do you bring to a song?
In the pursuit of goosebumps, I turn the good things up and bad things down.
What's your typical work process?
Client either uploads the track through our file delivery system or they bring their mixes to the session. If time allows, I'll have a quick listen to the mixes and give any feedback if necessary. When the mastering is done, I'll send a reference master to the client online for approval.
Tell us about your studio setup.
The Propeller Mastering room is designed by Munro Acoustics (UK) and matched with a pair of ATC SCM100 ASL Pro. The studio is based around a Crookwood M1 mastering console with Lavry, Merging and Forssell converters. Outboard consists of tube and solid state EQs and compressors (Fairman, Manley, Buzz, FCS, API and some custom stuff) as well as some digital units (Weiss EQ and de-esser, Bricasti M7).
What other musicians or music production professionals inspire you?
Alison Krauss, Madeleine Peyroux, Melody Gardot, Sarah Jarosz, James Taylor++ In general artists that dare to keep it simple and let the music breathe and the producers and engineers that work with them. Al Schmitt, Helik Hadar, Dave O'Donell, Gary Paczosa.
Describe the most common type of work you do for your clients.
I spend most of my days mastering music in all types of genres. Spanning from classical and jazz to metal and house/RnB. Most of my clients are from Norway and include all the major labels as well as indie artists. In addition to mastering, I also record and mix music on a regular basis.