Mastering Pop Rock Country ...

Q: What type of music do you usually work on?

A: I handle pretty much every genre, except maybe pure techno or hardtech. I need a human element in the music. I heavily prefer working on tracks that carry real emotion, vocals, and dynamic movement, rather than just mechanical loops of a kick and a snare.

Q: Tell us about your studio setup.

A: I used to own a bunch of outboard gear, but I sold it all a while ago. Turning physical knobs feels great for the ego, but it’s a massive pain in practice. Maintenance costs a fortune, you have to wait for tubes to warm up, and trying to do an exact recall on a master from three weeks ago is a total nightmare. Digital audio has evolved so much over the last 15 years—aliasing is easily handled now. If I need to double a compressor or set up a complex Mid/Side matrix in software, it takes me 30 seconds. This speed allows me to keep overhead low and offer fair, realistic prices to artists. Where I don't compromise, though, is monitoring. Putting overpriced speakers in a badly treated room is completely useless. I spent weeks analyzing frequency responses and both vertical and horizontal sound dispersion. My setup (Neumann and JBL) is calibrated down to the millimeter. My latest room measurements show +/-1 dB from 200Hz to 20kHz, and +/-1.5 dB in the low end (35Hz to 200Hz). That accuracy is what actually matters, not expensive tube boxes.

Q: What other musicians or music production professionals inspire you?

A: None. There’s just way too much misinformation and recycled myths surrounding mastering. Instead, I buried myself in acoustic physics and signal processing textbooks. I built my entire methodology around my own lab tests and measurements. If there are any engineers I respect, it’s the ones who stick to hard science and data, not the ones selling "magic tricks" that claim to fix a mix in one click.

Q: What are you working on at the moment?

A: Currently, design futur aircraft engine for mid 2035, a small try for doing my part for ecology, after designed cars. Musically works on small tracks that come and go

Q: What's your 'promise' to your clients?

A: I do the work I m pay for, can hold quality without issue

Q: What do you like most about your job?

A: Help artist to finish their project, to be a micro part of it, and discover new artists and songs

Q: What questions do customers most commonly ask you? What's your answer?

A: Usually, it’s "How much does it cost?". I give them my rate, obviously, but I immediately pivot to my workflow: just send me the track, I’ll master it, and send it back so you can listen and decide. This approach also lets me see exactly how much work needs to go into it. Sometimes a mix is already excellent and doesn't need much editing—just a gentle push to commercial volume.

Q: What's the biggest misconception about what you do?

A: That I will solve all the mix or recording issue. Can do a lot, but get its limit too

Q: What advice do you have for a customer looking to hire a provider like you?

A: Just contact by mail, I m open to any project, all levels

Q: What was your career path? How long have you been doing this?

A: I've been mastering for years, but my day job is still designing aircraft engines. I don't chase money or clients at all. In fact, I can go months without taking on projects if I can't give them 100% of my focus. I’m a technical guy, not a salesman—I’m probably the worst marketer alive, and I’m completely fine with that. It gives me total freedom to only choose projects I genuinely care about.

Q: How would you describe your style?

A: Mastering style? I just do what I have to do, don't care famous or "small" artists. I m paid for a job, I do it

Q: Which artist would you like to work with and why?

A: A lot of them, but always for totally different reasons. Sometimes it's solely about the vocal performance or the raw emotion an artist manages to capture. Other times, it’s the political message or the sheer drive behind the project that connects with me. I value authenticity over everything else.

Q: Can you share one music production tip?

A: Stop trusting everything you see in YouTube tutorials. And don't fall into the trap of thinking that a high price tag on a plugin or hardware piece means quality. Learn to push the tools you already have to their absolute limits. Make mistakes, but actually take the time to analyze why it sounds that way instead of how you wanted it to. You learn technique through failure and troubleshooting, not by copying recipes.

Q: What's your strongest skill?

A: Equalization, without question. I push EQ to a level of surgical precision that traditional mastering studios rarely reach. It’s not about raw talent; it’s about background. My engineering past allows me to work with distinct algorithms and data analysis tools that typical audio engineers never touch. It lets me go way deeper into the details, correcting micro-flaws that are invisible or inaudible on standard systems.

Q: What's your typical work process?

A: It's straightforward: you email me, send over the WAV file, and I start working as soon as I get it. The turnaround takes anywhere from 1 to 24 hours per track. My golden rule is that I always send a mastered preview before asking for any payment. Budgets are tight for musicians right now, and I want you to hear the results on your own speakers before committing. If you like it, we move forward. If not, you don't owe me a dime.