Credits with The Replacements, Michael Franti & Spearhead, Ol' Dirty Bastard, Screeching Weasel, and many more. Audio mastering studio specializing in all styles of music using an analog/digital hybrid setup with only the finest analog and digital tools. I am also an active member of AES and beta tester for a variety of audio software companies.
Specializing in providing masters optimized for all formats including DDP (for CD production), 16-bit/44.1k WAV for standard digital distribution, 24-bit/96k for Mastered For iTunes/Bandcamp/SoundCloud/Archives, 48k WAV optimized for video editors, vinyl pre-mastering, cassette pre-mastering, as well as reference mp3 files fully tagged with metadata and artwork that look professional for promotional use and for digital download card services.
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14 Reviews - 2 Repeat ClientsEndorse Mystery Room Mastering
This guy is kind, quick, professional and qualified... anything else?
Great job Justin!
Fantastic experience. To date, probably the most professional experience with the best results that I've had. The quality of the work was everything you'd hope for with mastering: bigger, fuller, wider, etc. Truly never heard my music sound so good!
As far as professionalism, the communication was always prompt and direct, which I definitely appreciated since time was a factor. Also, he works fast: I had the song back in a day.
I look forward to working with Justin again in the future.
Justin was personable and delivered excellent work. He made me really appreciate the mastering process, because he adds something special to the music he masters for his clients. Thanks again Justin, I appreciate your work ethic and personal touch. A pleasure to work with and I would recommend him to anyone needing a mastering engineer.
Justin is incredibly thorough and easy to work with. He took the time to make sure he understood exactly what we wanted and delivered. Quick turnaround and great quality. I look forward to having him Master more of my client's projects in the future.
Mystery Mastering always treats clients with care and a great level of professionalism. You will not be disappointed.
Hey! The most professional experience ever, great job! Never heard my music sound so good!
Justin is experienced, kind, clear and fast. Don't miss this guy!
Justin is simply the best and most competent guy out there. He makes any mix shine. The project calculator is awesome and his prices are unbeatable. MRM has all the equipment, attitude and expertise you would ever need for a good record but of course first you need a good mix. Justin is always quick with responses and very helpful. (So many swollen headed, arrogant sound engineers are out there without having even half the talent Justin has and they are ripping people off with the sloppy work. Not this guy. I am glad I have found him.) Highly recommended.
Justin Perkins has a gift and he will use that gift to make your recordings sound great. I have worked with Justin on 10+ mastering projects and the consistent quality and attention to detail that he delivers is top notch. I would, without hesitation, recommend Mystery Room to any artist or producer looking to make their recordings sparkle.
Making records can be stressful, but Justin has always been a joy to work with. One of the most competent people I know, in any arena. He's as into current advancements in sound and software as he is the history of production. He is Thee go-to guy.
Justin has mastered several projects for me over the years. His attention to detail is outstanding and he always provides an email with a very thorough explanation of what each type of file is to be used for (e.g. bandcamp, vinyl master, itunes etc.) which makes digital and other file distribution much easier as all the information you need is right there. I honestly wouldn't go anywhere else!
Justin's mastering performances add depth and cohesion to my mixes with out sacrificing dynamic and emotional range. He's The Man.
Justin has mastered a number of projects for me over the years and has always done an amazing job. Amazing gear and tools in both the analog and digital realm. Great ear. And has a sincere desire to get the sound you are looking for. He is about the music and is about achieving the best results possible for the client/artist. Highly recommend.
Justin just mastered a record for a client of mine that took 12 years to create. It was a very detailed and arduous project, from the beginning. The master turned out better than I'd even hoped for. I believe the mastering was as important an element as the recording and mixing.
The mastering we had done with Mystery Room Mastering was so well done and was completed so quickly!! We were very happily surprised at how smoothly the entire process
Interview with Mystery Room Mastering
Q: Describe the most common type of work you do for your clients.
A: These days I do mastering 100% of the time but I have nearly 20 years of recording and mixing experience before transitioning to mastering nearly 10 years go.
Q: Tell us about your studio setup.
A: My mastering room has a combination of analog and digital tools. Most projects are done using both analog and digital processing but sometimes they stay 100% digital. PSI studio monitors with their AVAA active bass traps offer detailed and accurate monitoring. The Crane Song Avocet combined with Dangerous Master and Liaison provide a high quality monitoring path.
Q: What's your typical work process?
A: Listen to the song(s) and make sure they are ready for mastering. Load song(s) into a new playback/capture session. Apply digital and analog processing to the song(s) until all songs sound as needed are sitting good as a group. Do a quality control listening session and fix any clicks, pops, ticks, thumps, blemishes, and other anomalies using iZotope RX. Then the song(s) are loaded into WaveLab for any last tweaks and finalization and sent for approval. From there, any requested revisions are made. After the project is approved, then any additional master formats are made including: DDP (for CD production), 16-bit/44.1k WAV for standard digital distribution, 24-bit/96k for Mastered For iTunes/Bandcamp/SoundCloud/Archives, 48k WAV optimized for video editors, vinyl pre-mastering, cassette pre-mastering, as well as reference mp3 files fully tagged with metadata and artwork that look professional for promotional use and for digital download card services.
Q: What do you bring to a song?
A: Whatever it needs. Nothing more, nothing less.
Q: What's your strongest skill?
A: Listening. Communication. Organization. Attention to detail.
Q: What type of music do you usually work on?
A: Because mastering is a fairly fast paced process, a good mastering engineer must be able to work on any and all styles of music if they want to work everyday. That being said, I tend to attract a lot of rock, punk, pop/rock, pop, americana, folk, indie, garage-rock bands/artists.
Q: Can you share one music production tip?
A: You never stop learning.
Q: What was your career path? How long have you been doing this?
A: I've been playing music since about age 12 and working with recorded music since age 15. I started recording the terrible bands I was in out of necessity which eventually led to other bands asking me to record them. After working at several studios around the state of Wisconsin including Smart Studios in Madison, WI, I moved to Milwaukee, WI and started focusing on mastering specifically.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: PSI A215-M Monitors, Crane Song Avocet, Vertigo VSM-2, Crane Song HEDD, Maselec MEA-2
Q: What advice do you have for a customer looking to hire a provider like you?
A: Research the info on my website for preparing for your mastering session. If you're unsure if your mix is ready for mastering, or if you will like my work, ask for a complimentary test master on one song.
Q: What questions do you ask prospective clients?
A: Did you and/or the mix engineer remove or avoid any peak-limiting and leave headroom for mastering? What albums do you like the mastering work on? When do you need to have this done by?
Q: What's the biggest misconception about what you do?
A: I think many people put too much stock into mastering. You should love the mixes before sending off for mastering. Mastering should only respect or enhance (when possible) whatever is already there and do no harm. People often forget the other part of the mastering process which is more along the lines of quality control and making sure that everything is properly formatted for all intended release formats.
Q: What questions do customers most commonly ask you? What's your answer?
Q: What do you like most about your job?
A: The ability to work at my own pace, because I don't charge by the hour. I like helping clients bridge the gap between the creative elements of their project and the technical aspects of creating a proper master that is ready for production and distribution.
Q: What's your 'promise' to your clients?
A: That they won't feel overwhelmed or confused by the process, that communication will be prompt and thorough, and if you don't like the end result (which is rare), you don't have to pay for it.
Q: Analog or digital and why?
A: Both, but not always. Some projects benefit from some analog treatment, but not all. Even though I have a desk with nearly $50,000 in analog gear, I'm not afraid to stay 100% digital if that's what's best.
Q: What are you working on at the moment?
A: Mastering is too fast paced to keep a current list, but here is my blog that is updated every few months: http://www.mysteryroommastering.com/blog/
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Remastering "Friday Night Is Killing Me" by Bash & Pop with a 2nd bonus disc. It was a mixture of an already great sounding album master, combined with mastering home demos from a cassette tape, studio outtakes, and some hard to find songs that were b-sides or only on soundtracks. It was a lot of work getting all the material together, and sounding good because of the wide range of material and sources. The project was approved from version 1.