Music Mastering

Q: What do you like most about your job?

A: Making the last step to realizing the dream of the artist

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

A: Maselec Mea2, Elysia Alpha Compressor, Hum Audio LAAL Limiter, Sontec EQ

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

A: I usually work with Electro and Heavy Metal music, but I'm confident with almost every genre of music

Q: What do you bring to a song?

A: Clarity and Punch

Q: What's your typical work process?

A: Typically, I begin with meticulous gain-staging to ensure my analog-modeled plugins hit just right. Next, I apply a surgical EQ to clean up resonances and establish a solid tonal foundation. From there, I let the material guide me—using dynamic processing, harmonic enhancement, and final polish to bring out the track’s fullest potential.

Q: Tell us about your studio setup.

A: My studio setup is fully in-the-box (ITB), but that doesn’t mean it’s inferior to analog mastering—it’s simply different. Like analog, it has its own strengths and limitations. With the right tools and critical listening, I deliver results that are clean, controlled, and competitive—focused on precision, recall, and consistency across playback systems.

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

A: Nicholas Di Lorenzo

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

A: The bulk of my work revolves around critical, material-driven decisions—ask­ing myself at every step: “Does this track really need that?” and “Does it sound better or worse with it?” From surgical EQ moves to subtle glue-style compression, every tweak is justified by the song itself. I lean on precise metering and careful listening to shape tonal balance, enhance punch, control loudness, and add depth—only adding or removing elements when they definitively serve the music. This ensures each master is both technically impeccable and emotionally impactful.