Tim Boyce : NYC Mastering

Analog Mastering, Music Master

Tim Boyce : NYC Mastering on SoundBetter

Tim counts Platinum records, Grammy Nominations, AAPRA awards, and YouTube hits in the millions of views among his recent accomplishments. He makes your music feel truly alive in an overly saturated marketplace.

Originally a staff mastering engineer at Masterdisk NYC the once premier studio facility for music mastering World-wide, Tim Boyce has worked with the best. Now with a dedicated Studio Facility located on E.14th St. in the hip East Village neighborhood of Manhattan, Tim's music mastering makes your song jump out of the speakers to grab your fans attention assuring a memorable first impression, as well as proper playback on important additional revenue streams like iTunes, YouTube, Broadcast licensing, etc...

But it’s not enough for Tim to just grab a listener’s attention; he feels that music speaks a message that transcends language. Music is communication, He is an expert at interpreting a client’s abstract ideas and language into concrete audible results. His dedication, focus, and ability to articulate these complex musical emotions and ideas makes Tim the ideal choice for making sure your music translates across boundaries reaching its full audience. Highly adept in both ultra-modern and traditional music mastering styles, Mastering engineer Tim Boyce translates the artistic expression of your mix into emotionally engaging digital releases in the heart of the East Village NYC with world-class analog mastering that helps your music feel alive, and connect deeply with your listeners emotions.

Would love to hear from you. Click the contact button above to get in touch.


AllMusic verified credits for Tim Boyce
  • French Montana
  • Recovery Council
  • Gabrielle Roth & the Mirrors
  • Museum

Interview with Tim Boyce : NYC Mastering

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

  2. A: The Great Gatsby Soundtrack --- it was under intense deadlines, and HUGE pressure with the director (Baz Luhrmann) listening to tracks in England and sending notes in middle of the night.. I was the Assistant Mastering Engineer for the project under Tony Dawsey ... Everyone would go home, and I was sleeping in the studio to do notes and make sure they could hit their deadlines . . . We ended up getting 3x Grammy nominations that year for that record. :) Felt good

  3. Q: Analog or digital and why?

  4. A: There is a time and a place for both ... Analog for depth, digital for tightness. I'm a beta-tester for many hardware and software companies ... so the equipment/software I work with daily is what will be available next year to the rest of the industry. Sounds Good to be ahead of the curve

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

  6. A: Trust your ears and your instincts ... if you think something feels good, so will your fans. Trust your Art.

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

  8. A: - Macbook (to download mixes) - my pristine Sontec 430b - Metric Halo ULN8 (DA) -Larvy Gold (AD) -Equi=tech Balanced Power ... I wouldn't trust Desert Island power-sources ;)

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

  10. A: in 2008 I started at Masterdisk in NYC. I first worked alongside Dave McNair, and Randy Merrill in Greg Calbi's original mastering room (assisting and after-hours building up my clients base) Then I moved as an assistant to Scott Hull who was working in Bob Ludwig's original room.. from there I moved to working with Tony Dawsey and Roger Lian in MD3 (the third room) as a staff engineer and Tonys assistant. I also had the good fortune to work with Andy VanDette, Vlado Meller daily ... A real powerhouse team of epic engineers, and I learned so much from them during that time. .. Since I have developed my own sound and style of working, but the influence of working alongside the worlds best ME's greatly influence my final product. I will be forever grateful for their generosity in mentoring my development

  11. Q: What's your strongest skill?

  12. A: My communication and my decision making

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

  14. A: I bring Emotional connection. Anyone can make a well balanced song today that fits-in and doesn't get lost on iPod shuffle ... that's not tough : : : What makes what I do Artistry is how I can finesse a track to really connect with the listener. That is what makes music you're still proud of in 10-years. .

  15. Q: Tell us about your studio setup.

  16. A: Highly modified Analog gear. I'm very critical of plug-ins ... only 3-4 have the depth of sonics that I demand from my equipment. There is a balance between vintage tone (Sontec's, clean 1950's tubes) for depth .. and tightness for a clean modern sound (Weiss DS-1, etc..) The entire chain works together .. it's not just one or two pieces, at the end of the day I am a Systems Designer and this system simply sounds outstanding! I'm very proud of the synergy in these very rare and well maintained pieces working together.

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

  18. A: I make music have IMPACT and Depth. Lots of QC, and care to detail .... I'll get in mixes that are flat, or poorly balanced, it's my job to not only make them 'better' but make the BEST. It's not done until you're dancing in your chair, or emotionally feeling the song. It should get under your skin to where you can't stop thinking about it

GenresSounds Like
  • French Montana
  • Ayo Jay
  • Nicolas Jaar
Gear Highlights
  • Sontec 430b
  • GML 8900
  • Metric Halo ULN8
  • Weiss DS-1
  • Great River MAQ-2NV
  • Crane Song STC-8
  • Custom 1950's tubes
  • Bettermaker
  • Z-Sys
  • B&W
  • Legacy Audio
  • Bryston
More Photos
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