Mystery Room Mastering

Mastering - Digital & Vinyl

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7 Reviews
Mystery Room Mastering on SoundBetter

Audio mastering studio specializing in all styles of music using an analog/digital hybrid setup with only the finest analog and digital tools. Attention to detail is an essential part of the mastering process to ensure no harm is done to the audio. 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.

Contact me through the green button above and lets get to work.

Credits

AllMusic verified credits for Justin Perkins
  • Bash & Pop
  • Bash & Pop
  • Bash & Pop
  • Bash & Pop
  • Bash & Pop
  • Bash & Pop
  • Name the Moon
  • Mark Hetzler
  • Martha Fischer
  • Lazer Lloyd
  • Tenement
  • Tenement
  • Tenement
  • Together PANGEA
  • Sugar Stems
  • Sugar Stems
  • Cameron McGill
  • Alberta Cross
  • Screeching Weasel
  • Screeching Weasel
  • Screeching Weasel
  • Screeching Weasel
  • Screeching Weasel
  • Screeching Weasel
  • Screeching Weasel
  • Cameron McGill
  • What Army
  • Sleeping in the Aviary
  • Testa Rosa
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • Jaill
  • Jaill
  • Jaill
  • Jaill
  • The Goodnight Loving
  • The Goodnight Loving
  • The Goodnight Loving
  • Cory Chisel and the Wandering Sons
  • Cory Chisel
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • Cory Chisel
  • Cory Chisel
  • Mystery Girls
  • Mystery Girls
  • Mystery Girls
  • Mystery Girls
  • Heller Mason
  • Heller Mason
  • Heller Mason
  • Heller Mason
  • Heller Mason
  • Heller Mason
  • Heller Mason
  • Heller Mason
  • Hayward Williams
  • Hayward Williams
  • Jeff Mitchell
  • Jeff Mitchell
  • The Leftovers
  • The Leftovers
  • The Leftovers
  • The Leftovers
  • The Leftovers
  • The Leftovers
  • Tim Schwieger
  • Tim Schwieger
  • Tim Schwieger
  • Tim Schwieger
  • Tim Schwieger
  • Martha Berner
  • Martha Berner
  • Martha Berner
  • Ben Weasel
  • Ben Weasel
  • Ben Weasel
  • The Saltshakers
  • The Saltshakers
  • Wax on Radio
  • Victoria Vox
  • Victoria Vox
  • Beach Patrol
  • Crush Kill Destroy
  • Chariots Race
  • Chariots Race
  • Heller Mason
  • Heller Mason
  • Heller Mason
  • Nob Dylan
  • Nob Dylan
  • Nob Dylan
  • Nob Dylan
  • Nob Dylan
  • Nob Dylan
  • Nob Dylan
  • Nob Dylan
  • The Saltshakers
  • Cory Chisel and the Wandering Sons
  • Number One Fan
  • Number One Fan
  • Number One Fan
  • Preacher Gone to Texas
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • The Obsoletes
  • IfIHadaHiFi
  • Sounds Like Braille
  • The Riverdales
  • The Riverdales
  • The Riverdales
  • Antifreeze
  • Tears
  • Tears
  • Tears
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • Yesterday's Kids
  • IfIHadaHiFi
  • Screeching Weasel
  • Screeching Weasel
  • Smoking Popes
  • Smoking Popes
  • Bash & Pop
  • Derek Sallmann
  • Archie Powell & the Exports
  • Tommy and the Rockets
  • The Goodnight Loving
  • Dan Vapid and the Cheats
  • Dan Vapid and the Cheats
  • Dan Vapid and the Cheats
  • Dan Vapid and the Cheats
  • Mark Hetzler
  • Crappy Dracula
  • Archie Powell & the Exports
  • Archie Powell & the Exports
  • Archie Powell & the Exports
  • Archie Powell & the Exports
  • Haunted Heads
  • Black Belt Theatre
  • Testa Rosa
  • Kurt Baker
  • The Mr. T Experience
  • The Connection
  • Jetty Boys
  • The Saltshakers
  • Phat Phunktion
  • Zeroed Hero
  • IfIHadaHiFi
  • ZipGun Bomber
  • ZipGun Bomber
  • Trapper Schoepp
  • Silik
  • Trapper Schoepp & The Shades
  • Bullet Proof Lovers
  • The Piniellas
  • Black Belt Theatre
  • Tenement
  • Tret Fure
  • The Methadones
  • The Methadones
  • The Methadones
  • Nate Lenz

Reviews (7)

Endorse Mystery Room Mastering
  1. Review by Matthew
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    by

    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.

  2. Review by Matty Day
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    by

    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.

  3. Review by TJay Christenson
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    by

    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!

  4. Review by Joel Nass
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    by

    Justin's mastering performances add depth and cohesion to my mixes with out sacrificing dynamic and emotional range. He's The Man.

  5. Review by Danen Kane
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    by

    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.

  6. Review by Marc Golde
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    by

    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.

  7. Review by Melissa
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    by

    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

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

  2. 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.

  3. Q: What are you working on at the moment?

  4. 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/

  5. Q: Analog or digital and why?

  6. 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.

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

  8. 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.

  9. Q: What do you like most about your job?

  10. 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.

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

  12. A: http://www.mysteryroommastering.com/frequently-asked-questions/

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

  14. 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.

  15. Q: What questions do you ask prospective clients?

  16. 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?

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

  18. 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.

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

  20. A: PSI A215-M Monitors, Crane Song Avocet, Vertigo VSM-2, Crane Song HEDD, Maselec MEA-2

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

  22. 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.

  23. Q: Can you share one music production tip?

  24. A: You never stop learning.

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

  26. 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.

  27. Q: What's your strongest skill?

  28. A: Listening. Communication. Organization. Attention to detail.

  29. Q: What do you bring to a song?

  30. A: Whatever it needs. Nothing more, nothing less.

  31. Q: What's your typical work process?

  32. 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.

  33. Q: Tell us about your studio setup.

  34. 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.

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

  36. 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.

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Is This Life by Miles Nielsen

I was the mastering engineer in this production

Terms Of Service

Rates include any and all revisions but submitting new mixes is subject to additional cost. Rush service available. Typical turnaround time is one week after receiving the audio and project details.

GenresSounds Like
  • Ramones
  • The Beatles
  • The Replacements
Gear Highlights
  • Dangerous Master & Liaison
  • Crane Song Avocet
  • Crane Song HEDD
  • Lynx Hilo
  • Vertigo Sound VSM-2
  • Maselec MEA-2
  • Manely Vari-Mu (Mastering Version)
  • Dangerous Compressor
  • Dangerous BAX EQ
  • Hendy Amps Michelangelo EQ
  • API 2500
  • Maag EQ4M
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