I’m Phil Crow - often credited as filcro - a mastering engineer in Southsea, Portsmouth, with decades of experience in music and sound. My approach is simple: refine what’s already there without compromising the character of the mix. Sometimes that means adjustments to tone, dynamics or level. Sometimes very little needs doing at all.
After spending a long time with a mix, it’s easy to lose perspective. A fresh pair of ears can help bring clarity to the final stages and make sure your music comes across the way you intend.
What matters is how the music feels, how it translates, and how it connects with the listener.
Send me your mix and tell me a little about what you’re aiming for. Not sure it’s ready? Send it anyway for a quick listen - no commitment.
Would love to hear from you. Click the contact button above to get in touch.
Interview with Hook and Loop Audio
Q: What questions do you ask prospective clients?
A: I like to understand what the artist is aiming for and how they feel about their mix. What do they like about it, and is there anything they're not completely happy with? Are there particular artists or records that inspired the sound they're going for? And what are they hoping to get out of the mastering process?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Don't be afraid to reach out - communication is key and it's important to find someone whose judgement you trust, whose work you like, and who understands what you're trying to achieve.
Q: What's the biggest misconception about what you do?
A: That mastering always involves significant processing, or that there's a particular loudness level every master should aim for. Sometimes a mix needs very little adjustment, and loudness should be determined by the music itself rather than an arbitrary target. Different styles of music have different requirements, and what works for one record won't necessarily work for another.
Q: What's your strongest skill?
A: Listening critically and knowing when to leave things alone. A great-sounding master doesn't necessarily require a lot of processing. Sometimes a few careful adjustments are all that's needed, and sometimes the best decision is not to change something that's already working well.
Q: What's your typical work process?
A: First, I listen to the finished mix and make notes, paying attention to what works and what the artist is trying to achieve. Mastering doesn't necessarily involve much processing, so I decide what's needed and build the processing chain accordingly, rather than taking a one-size-fits-all approach Throughout the process, I compare my work against the original mix to make sure any changes genuinely improve the result without compromising its character or imposing my own sound.
Q: Analog or digital and why?
A: Whichever - use what you have to hand.
Q: Can you share one music production tip?
A: It might be a cliché, but trust your ears. If it sounds good, it is good.
Q: What type of music do you usually work on?
A: I enjoy listening to and working with all sorts of music, and I'm happy to consider pretty much any genre. What matters to me is understanding what the artist is trying to achieve with their music.
Q: Describe the most common type of work you do for your clients.
A: I master finished stereo mixes for independent artists, producers and labels
- Mastering EngineerContact for pricing
1 revision included; extras by arrangement
Typical turnaround: 2–5 working days from receipt of final mixes
Rates: £35 (1 track), £30/track (2–6), £25/track (7+)
