Mastering For Digital & Vinyl

Q: What questions do you ask prospective clients?

A: I often ask their goals and expectations.

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

A: Communicate your goals and expectations.

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

A: Since 2001, I've mastered audio for an eclectic range of projects. My work includes multiple Billboard #1 and Top-10 charting songs, GRAMMY® Award-winning artists, and over 700 million streaming plays from more than 65 different countries. I am proud of the trust I’ve earned from the producers, mix engineers, artists, and labels I’ve worked with along the way. My path with music and sound is uniquely colored by the phenomenon of synesthesia. Specifically, I experience chromesthesia, a state where auditory stimuli manifests itself as colors, shapes, and movement. This sensory perception is interwoven with my passion for music and technology, feeding a nuanced exploration of the marriage between artistry and analysis in every record. For over 12 years, I ran Mobtown Studios, an award-winning Baltimore recording studio which I co-founded. I then pivoted to focus solely on mastering, designing and building a dedicated mastering studio in 2018. In 2023, I co-created the Speaks Volumes podcast with mastering engineer, Dan Coutant. We talk about supporting our fellow engineers, work/life balance, and maintaining good mental health in a stressful and competitive industry. I occasionally work with iZotope, Native Instruments, Plugin Alliance, and Steinberg (WaveLab Pro) on their software development. I’ve previously worked with Warner Bros. Records, Discovery Channel, The Kennedy Center, and DC101-FM. When not working in music, I love making egg creams and listening to Prince.

Q: Can you share one music production tip?

A: Listen to your renders outside of your DAW. You'll often find all those pesky pops and clicks there!

Q: What's your typical work process?

A: My approach always begins with listening—really listening. With years of experience behind the desk, I’ve learned that the most effective mastering starts by hearing the artist’s intent, understanding the nuances of the mix, and identifying any gaps between the two. Only then do I reach for my tools. Using a finely tuned chain of tools, I make both micro and macro adjustments—rounding harsh edges, enhancing low-level detail, and balancing dynamics. The goal is always to bring cohesion, clarity, and a finished feel to the record, with just the right dose of loudness, movement, and vibe. The moves I make might be incremental, but they are intentional and impactful. And, you can rest assured I won’t make changes for change’s sake. So what sets me apart? I listen—not just to the sound, but to the story, the emotion, and the intent behind it. I listen to make sure the audience will feel that intent and excitement. I listen to provide feedback and ensure that the mix is complete. I listen to guide the process of refining and finishing the record. As a former artist, producer, studio owner, and mix engineer, I’ve stood on all sides of the glass. I understand what you’re aiming for—and what it takes to get there—because I’ve been in your shoes. One last note: A master is only as strong as its mix. I’m always happy to offer mix feedback before mastering begins—to make sure nothing gets in the way of your sound translating clearly and confidently.

Q: Tell us about your studio setup.

A: My NC20-rated studio is a highly accurate listening environment, acoustically tuned and phase/time aligned. Housed in a century old building, the space was purpose-built with meticulous attention to detail. The design optimized the room geometry to minimize sonic distortions, resulting in acoustic precision that is accurate from 26Hz - 22kHz with a narrow variation of +/- 3dB (6dB peak-to peak). The room is tied together with the Zaor Maestro 24 Classic Desk & the custom HiFI Woodworks HF4 Speaker Stands, which both yield a minimal acoustic footprint. TRANSFER PATH AND CONVERSION Maselec MTC-1X Mastering Transfer Console Lynx Hilo Reference Mastering AD/DA Benchmark DAC1 192kHz DAC Topping DX7 Pro+ Headphone DAC Lavry Black AD10 ADC MONITORING PMC Speakers IB-1S Reference Monitors VTV Amplifier Hypex NC1200 Dual Mono w/ Weiss OP2-BA Opamps Neumann NDH 20 Headphones Schiit Mjolnir 3 Class A Headphone Amp EQUIPMENT API 2500 Bus Compressor API 5502 Dual Equalizer Big Crunch Box (Telefunken NFLÜ 325, UTC LS-140, & Neve/St. Ives VT-22543 Line Transformers) ITI/Sontec MEP-130 Dual Parametric Mastering Equalizer w/ original unpotted op/filter-amps (Unobtainium!) Kiiratronix CM-1 Transformer Box Manley Labs EQP-1A Stereo ‘Pultec’ Equalizer - Mastering Version Manley Labs Stereo Variable Mu® Limiter Compressor Maselec MEA-2 Precision Stereo Mastering Equalizer Maselec MLA-4 Stereo Triband Compressor / Expander PLUGINS Weiss, Softube, SoundTheory, Audiosingularity, iZotope, oeksound, Newfangled Audio, Goodhertz, FLUX, Tokyo Dawn Labs ANALOG TAPE Otari MTR-10B ¼” 2-track Production Tape Recorder (pulled from The Hit Factory) Otari MTR-10C ¼” 2-track Production Tape Recorder Nakamichi LX-3 cassette deck Tascam 130 cassette deck DIGITAL MACHINES Panasonic SV-3700 DAT HHB PDR-1000TC DAT Alesis ADAT-XT20 Type II ACOUSTIC ROOM TREATMENTS Martienne Acoustics 6” Bass Traps RealTraps 3 ¼” Wall Minitrap Absorbers RealTraps 2” RFZ Panel Clouds Mobtown 5” Bass Traps Bluetone Acoustics Poland QRD N7 Diffusers SPEAKER CABLES Analysis Plus Solo Crystal Oval 8 POWER Furman P-2400 AR 20A Prestige Voltage Regulator / Power Conditioner Pangea Audio AC 9SE MKII Signature Power Cables INTERCONNECTS Custom made by Will Melones with Canare and Mogami wire, and Neutrik connectors. The wire is made from gold plated free-range dairy-free zinc oxide copper mined from Mars only when Mercury is in retrograde.

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

A: I am a mastering engineer! I focus solely on mastering.

Q: Analog or digital and why?

A: Neither are mutually exclusive.

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

A: Brian Eno, Prince, Laurie Anderson, Shakira, Frank Zappa. I'm drawn to diligent workers, innovators, and collaborators. I'm inspired by artists who take on all parts of the creative process. I admire musicians who can get down in more than one genre. Life is too short not to try different things.

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

A: That it's a party every day. It's not coke and hookers. We make music. And it's hard work.