Mastering Engineer

Q: Tell us about your studio setup.

A: My main listening setup involves the super clean and ultra great conversion of the Lynx Hilo paired with PMC IB1S. Those two along with a great sounding room give me a very accurate read of any song which to me is the most important thing. You can't fix it if you can't hear it. You can't enhance it and bring it out if you can't hear properly and accurately. You get the point. To my listening army I add my trusted Audeze LCD-X heaphones. If I feel the song needs analog juice, warmth or 3D vibes I can the option of choosing my Manley VariMu for a nice tube sound, my Stam SA4000 mkii for that classic SSL sound along with their Neve mod to add some nice juicy harmonics to the low end. I also have with me the beautiful maag EQ2 for some phat low end and/or the classy Air band and the TKlizer for any light attenuation or enhancement I want to make.

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I'm very proud of having been able to assist on the mastering part of the Doja Cat album "Planet Her". I was the Assistant Mastering Engineer.

Q: What are you working on at the moment?

A: Lots of great artists, including, Lagum, L'FREAQ, Ashley Nicole Emerson, 500 Year Flood, Coasted Kid, and few others. All very exciting!

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Absolutely. Vic Cuccia is the man if you need top notch mixes.

Q: Analog or digital and why?

A: Both. It just depends on the song. I have my tools and I know when and how to use them. The worst thing a mastering engineer can do is run a track through a piece of analog gear just because they spent a fortune on it and feel like they need to use it because it just "makes it better". It doesn't always make it better and nothing should be forced through gear just because. Sometimes hybrid, sometimes digital. It depends on the song and the vision the artist has for the track.

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

A: My total and utmost dedication. I treat every single song with the same amount of pure dedication and attention. I truly care about the music that is sent to me and my clients can feel that.

Q: What do you like most about your job?

A: Having artists trust me with their music and being able to contribute to their work is the most satisfying part about mastering! Being the last stage before a song is released is a lot of responsibility but I think it's a beautiful thing which I don't take for granted, ever!

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

A: What format should I send you? 24 or 32 bit files in the sample rate of the session it was mixed in. Export in that exact sample rate. No need to upsample and especially not downsample anything. Leave it to me!

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

A: I'd say the biggest misconception is that a song that wasn't recorded properly can sound just as good as mainstream industry standard released music. An amazing track starts not only with an amazing song, but with an amazing recording. Record like there is no mix. Mix like there is no master. Master like... well leave this part to me! I got you!

Q: What questions do you ask prospective clients?

A: What is the vision of the project? What do you love about this track/these tracks? What do you feel is lacking? What are your expectations during the mastering stage? What final formats do you need?

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

A: Be certain the mix has been approved by everyone that needs to approve it. Have your files ready. If you need ALTS, have everything printed and ready from the get go. And please, QC and check your files after you've exported from your DAW. Make sure everything sounds that way it should and no element is missing. I once had someone send me a file which he said was the final mix and it indeed said (Final Mix v3) but that file was a soloed acoustic guitar. QC and listen to your files after you export.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Assuming on a desert island there would be no electricity and no clients then there would be no way of me mastering anything for anyone I'd most likely pick my Martin acoustic guitar which I love in order to maintain my sanity. If this desert island did have electricity and costumers I'd definitely have my Lynx Hilo, my PMC IB1S, my Audeze LCD-X, my Manley VariMU and I guess a computer! HA!

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

A: I have been playing guitar and dedication to the art of guitar for over 2 decades. I have a Bachelor's Degree in Guitar Performance. I have played and love all style but mostly Jazz, Blues, R&B, Funk and Rock. I started studying tracking and recording to be able to record my band without having to hire someone every time we wanted to record something for YouTube and down the road I fell in love with mixing which then led me to mastering. I have been mastering for over 5 years now.

Q: How would you describe your style?

A: That's an interesting question. I am the only person that hears music the way I hear it. That is an individual trait of all of us. The changes I make, the approach I take on a master is all based on how I hear music. Even if I am being guided by the artists' vision and wants. It therefore makes more sense for others to try to describe my style after I have worked on their music than for me to brand myself with handcuffed descriptions of something that to me is just me and the way I hear things. In the words of the great Bruce Lee: "My style is no style"

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

A: Kanye. He is a genius and knows what he wants, therefore seems to be very hard to please but I'd love the challenge of taking in his vision while also seeing what my ears tell me the material needs and contributing to the art with that and seeing what happens.

Q: Can you share one music production tip?

A: But I am a mastering engineer, and what even is mastering?

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

A: Pop, R&B, Rock, Funk. Music with energy and low end.

Q: What's your strongest skill?

A: Knowing when to change something or not to change it at all.

Q: What do you bring to a song?

A: Punch, clarity. Massive and beautiful low end if the style calls for it. Depth and separation between elements that might be feeling clogged up and muddy in the mix. If it's a pop song the vocals will be clear and up front, separated from any instrument such as synths that might be getting in the way of a beautiful and strong vocal. Volume and density with punch and transients that sound alive. I love tailoring each song to its specific needs.

Q: What's your typical work process?

A: I warm up my ears at the beginning of every day with a list of references I have gathered throughout the years. Once I start on a specific track I like familiarizing myself with that style as well to get my ears warmed up. I listen to the track a few times before making any moves and just try to notice what I am feeling. What I feel is missing or what I feel needs to be pushed back and tamed usually present themselves to me on the first couple of listens and I have a big picture idea of what this song should sound like to sound its best. I then go to work to make that initial vision possible. The moves I make along the way are in order to chase the final product. Along the way I like listening passively as well and not thinking about the track at all and during these valuable moments I sometimes get glimpses of things I hadn't noticed before so I dive in on those and I listen to check if those changes are improving the track or not. Each song is a puzzle piece and I love figuring each one out.

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

A: I find inspiration in the work of so many musicians working on so many different styles. I'd say Quincy, Kanye, Pharrell, Bieber and Finneas are all producers I admire so much. As for musicians I really like the sound of Dua Lipa, Kanye, JoJo, H.E.R, Olivia Dean, Jamiroquai, and many more.

Q: Describe the most common type of work you do for your clients.

A: Stereo Mastering! I love the challenge of being able make such a huge difference to a song working only with a stereo track. I love hard hitting, loud, dense tracks that don't sound like the life has been squeezed out of it, in fact, there is more life, openness, tone and texture after I get my ears on it.