Top Mastering Engineers for hire
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Hi-Fidelity Radio Ready + Spotify/AppleMusic Ready — Love working on new genre blends + unique sounds — Recording artist, producer + songwriter, founder of Blossöm Records in LA. Years of touring bands including Hey Monday’s signing to Columbia Records, tours w/ Fall Out Boy, 50 Cent, Justin Bieber + All American Rejects
AIR Studios Mastering [founded by George Martin] specialise in all formats of analogue and digital mastering, providing high-end audio services to the world’s music industry.
Andres is the most reviewed engineer on SoundBetter, a 2-Grammy winner & Past-President of the AES (Audio Engineering Society) worldwide. If you want to mix and/or master your music either in stereo, surround 7.1, binaural or Dolby Atmos, start by sending us 1 song and you'll get a FREE and HONEST audio quality report that will really help you out.
I'm Dave Blackman and I own and run Hiltongrove Mastering, a dedicated mastering facility based in the Essex countryside. We're an Apple approved MFiT provider, and I've been a mastering engineer since 1996 - I'd like to think I know what I'm doing by now! Past clients include Coldplay, Keane, Killing Joke, and Echo and the Bunnymen.
**Grammy Award Winning Engineer** & *OFFICIALLY CREDITED ON 32 TOTAL GRAMMY NOMINATIONS* I’ve worked alongside: Kanye West, Yo-Yo Ma, PJ Morton, Jamila Woods, Kirk Franklin, Kurt Elling, Adam Levine, Cowboy Troy, Tom Higgenson (Plain White Tees), Donald Lawrence, Lupe Fiasco, Hezekiah Walker, Rihanna, Anthony Hamilton, Mavis Staples, etc.
Gavin Lurssen has been a mastering engineer since 1991 and has been in the forefront of, and contributor to the many technical developments that have taken place in the industry over the past two decades.
My name is Eric Disero, better known as the electronic artist Disero. I have had multiple releases on Monstercat, STMPD, Armada, and Warner Music, and my masters have racked up 20 million plays on Spotify over the past couple years. If you're looking for an ear you can trust in the vital final stages of production, you have come to the right place.
We offer top quality, quick & affordable mastering. Grammy Nom. Clients Include: DJ Premier, Wu-Tang, Mike Mangini, James Labrie (Dream Theater), Billy Gibbons, Skatalites, Peter Wolf (J Geils) RJD2, Coolio, Marky Mark, Tom Jones & many more. Free previews & No charge for any Revisions. Also offer: Stem mastering & free mix consulting.
Songs I have produced/mixed/mastered have garnered over 700 Million streams across the internet. As an artist, I understand the delicacies that make a song sound special. In this day and age, standing out is more important than sounding "perfectly polished".
I help music feel alive in an overly saturated market. Mastering for French Montana, DJ Sluggo, Nicholas Jaar, The Happy Mess, and Ayo Jay. Winning APRA and Platinum awards, including nominations for Grammy, & Headies awards. EVERY PROJECT is a chance to shine, big or small. My mastering helps artists uniquely stand-out, Start a chat and let's talk
I've been in the industry for 20 years. I Work for independent artists and major labels. I put my ears before my eyes. Multi nominated and awarded for several albums. I offer a Free consultation previous to mixing and mastering process.
Mastering Grammy® winning and Billboard-topping albums, Garrett Haines is a Tape Op Magazine Senior Contributor, and aspiring renaissance man. He focuses on styles: with driving beats, alternative rock, and melodic Americana (Jolie Holland, Watermelon Slim, Ryan Pollie, Wiz Khalifa, Zao, Victor Bailey, Struggle Session, Fuse, Sugarfree Allstars)
Real Wordclass mastering services to achieve that Big, Fat, Warm and Punchy Major Label Sound thanks to a state of the art, no compromise, high end mastering facility. Only top notch analog equipment (Maselec, Prism, Sontec, Fairchild, KNIF, Tubetech, Vertigo) & top class sound techniques to make your tracks shine.
Multi platinum awarded music producer, mastering engineer, songwriter and studied sound engineer Rudi Dittmann from Germany. Mastering Enigineer for amongst others: Robin Schulz, James Blunt, ATB, Topic, Nervo, Dimitri Vegas & Like Mike, Alle Farben, Deepend, Moguai / Working for Labels like Sony, Spinnin', Armada, Universal, Warner, Kontor, WePlay
With over 25 years’ experience as a mastering engineer, I can deliver the best results from your mixes, adding punch, polish and that professional touch, as well as meeting all your editing requirements, from radio edits through to album compilation & sequencing.
Certified 2X Platinum! Mixing & Mastering engineer for Wiz Khalifa, A-Boogie, Shordie Shordie, Lil Baby, etc... I recently mixed and mastered Warner Bros artist Shordie Shordie’s single “Betchua” (Over 600 million streams) and 300 Ent. artist Tate Kobang's "Bank Rolls Remix" (#4 Spotify #22 Billboard, HBO "Ballers", MTV "Wildin Out", Playstation)
Reuben Cohen is an award-winning mastering engineer, winning a Latin Grammy for his work on Diego Torres' album “Distinto," and a TEC Award for his work on the single, "Happy," by Pharrell Williams.
Of the thousands of records I've Produced, Mixed and Mastered, the one EVERYONE has surely heard is the hit single from Quentin Tarantino's PULP FICTION..."Girl, You'll Be A Woman Soon". i am KRAMER, founder of SHIMMY-DISC, producer of LOW, GALAXIE 500, WILL OLDHAM... Nowadays, I spend most of my time on my own music, and on MIXING & MASTERING.
For the past 16 years I worked for Sony Music Entertainment as a Mastering Engineer. There, I had the honor and opportunity to contribute my skills and expertise on many award winning recordings, with artists ranging from Donald Fagen to Wayne Shorter and Britney Spears to Bob Dylan.
Do you want your music to sound DJ or Spotify friendly, pleasantly dynamic, punchy, with tight bass, wide, clean and pleasant. Who doesnt? Any genre is welcome, sonical magic will be applied with the best care:) Lets hear your new song and make it Sound much Better:)
Award winning Mixing & Mastering EngineerBrian iele (SCS Mastering), New Yorkfavorite_borderfavorite
UPDATES: 18/05/21 Nominated: Best Album "Alternative pop" - Rosario Ortega - Otro Lado 10/11/20 WON Best Alternative Rock Album. Lucy Patane.(mix+mastering) Also Nominated: Best Alternative Pop Album - Maca Mona Mu "Kalanchoe" Best Electronic Music Album. Diego Frenkel Recording of The Year. Lucy Patane. Song of the Year. Paula Maffia "Polvo"
Hi! My name is Lu and I am a RIAA Gold Certified Engineer working with names like Kehlani, Ari Lennox, Yung Bleu, Keyshia Cole, Kiana Lede, Lucky Daye, G Eazy, Eric Bellinger, DJ BattleCat, DVRKO, Dua Lipa & many more. Specializing in Mastering for Commercial Radio Sound at Affordable Rates! Free Vocal Template: https://forms.gle/QuC3oekWgSgc6pCJ8
Epicenter Mastering is run by Mastering Engineer Gentry Studer, (yes, like the tape machine). Gentry is a 3X Grammy and Emmy Nominated, Juno and MIA Record of the Year winning Mastering Engineer. Working with indie and signed clients alike including: Metallica, Spoon, Incubus, Wynonna, Jackson Wang and many more.
Multi Platinum, Grammy Award Winning Mastering. I'd love to hear your mix! We can work together to make sure your mix is everything it can be prior to Mastering. I've worked with all the Major Labels as well as many, many indie artists.
Drumcode, Suara, Luca Agnelli - Caneschi (Revealed Rec.) - Robert Miles - Claudio Coccoluto - Sony, Universal, Warner, Kontor, Alex Neri (Planet Funk), Etruria, TheDub, Feiyr DANCE ALL DAY - Music Production since 1984 Price List: Stereo Master $30 / Stem Master $60 / Mixing $150 (Stems processed in return require an additional cost)
Todd Tobias is a mastering engineer in the rock, acoustic, ambient, singer-songwriter, experimental, jazz and classical genres. Todd began his career with indie rock pioneers Guided by Voices in 2001.
I am a multi genre composer specializing in bass heavy electronic music with intricate knowledge of sound design and audio engineering. Collaborations with artists such as Bassnectar and Manic Focus fill my discography. Beyond this, I have nine years experience playing shows to tens of thousands of fans at venues such as Red Rocks Amphitheater.
Hi, I’m Bram Fidder, Spinnin’ Records signed artist who runs This Mix Is Sick. Get top-level EDM mixing and mastering services to push your music to the next level. When I started out I wish that this service existed, so I started it. To make YOU sound sick!
Music Producer and Songwriter, with past and current work with Universal Music, Sony Music, Steve Angello, Axwell and more. In 2021 I received a #1 Billboard Award (Hot Dance Airplay Chart), and a #1 most played song on US Dance Radio, produced and co-written by me.
Brand new, reference mastering room. I studied in Hollywood under Howie Weinberg & Vlado Meller. Apple Digital Masters and Tidal MQA certified engineer. I work with Polish most known independent bands & musicians, Polish & European labels, i. ex. FatCat Records UK, Instant Classic PL, Warner Music PL and many others.
5 Winning Albums at the Carlos Gardel Awards 2003, 2004, 2009, 2011, 2018 (Argentina), Los Angeles Armenian Music Awards 2008, USA; Arpa Awards 2011 USA nomination; Monster Music Awards, Mexico 2011; Latin Grammy 2017 USA (participation in Ilevitable); Friday Night Progressive NY USA 2020; Winning album Baires Prog Fest, Argentina 2020. Contact me!
Have been mastering for many years for many genres. Worked for hit records of national and interntional artists. Writer of the books Müzik Yapımında Mastering, Mastering Hakkında S.S.S., FAQ About Mastering. Being endorsed by many big companies. The pro last touch, the secret sauce for your art using specialized analog and digital equipment!
I am an internationally acclaimed mixing and mastering engineer with over 300 rave reviews on jazz albums I have mixed and mastered (Including 3 Downbeat Magazine awarded "Masterpiece Albums" and a Jazzwise "Best Release" of the year). I can take your album to the next level. Want your album to have that "world-class sound"? I can help.
I am a Mastering/Mixing engineer who specializes in Melodic House & Techno / EDM / Deephouse. But also doing other genres like Hiphop, D&B, pop song etc. Recently worked on Mastering for Renaissance and Black Hole Recordings. Released on labels like Bedrock, Toolroom, Kraftek, Octopus, Ovum, SCI+TEC, Tronic and many more
I'm here to help the music. Specializing in house music with a warm, gritty, vintage finish. My goal is to build lasting working relationships with artists and clients by integrating my skills and ear with your tastes and vision.
Check my previous works :- Insta Handle sam_wills_wired_masters Spotify Playlist https://tinyurl.com/yyvz88r7 Trusted by the likes of FFRR, Circa 99, Island & Defected, Sam Wills started his career at Wired Masters in early 2012. Sam has built up a reputation for quality masters and quick turn-around times.
Club Yokai is a Japanese-American producer duo crafting their own unique blend of R&B and Hip-Hop with sounds imported from Japan and America. Despite refining their craft in Los Angeles, their moniker reminds the audience of their musical roots — combining the genre mainstream with underground influences from Japan and across Asia.
Having worked with and recorded the likes of Ed Sheeran, American Authors, Plain White Ts and Gin Blossoms Jon is now focused on providing his clients from around the world the absolute best in mastering services via his company named Fuzzywallz Mastering in Seattle, WA.
Mixing & mastering engineer, Music producer and Dj. My goal is to bring out the best of every song and of each artist I work with. If you have a track that you want to sound professional and ready to be signed, you are in the right spot! Let's talk about your project, if you need help with the production, I can help you too!
I specialize in "seed-to-fruit" music production. My work is featured on TV, Radio, and Broadway. I am a professional producer, mixing engineer, songwriter, and multi-instrumentalist with a private studio. My goal is to make your music sound commercially viable. I treat your music as if it was my own.
I am a musician and audio engineer with 25 years of experience in every step of the music production process, from arranging and recording for French pop star Sebastien Tellier to mastering Singapore hip hop artist Nikhil Senan's debut album. I am now specializing in mastering, dedicating all my expertise to this unique discipline.
I'm a mastering engineer, after many years working in Nashville, TN, I have relocated to Portland Oregon where I master at my new studio. I have plenty of major label and indie credits to my name and I strive to provide high quality, affordable mastering. Additionally, I am able to provide Atmos mixing and mastering!
What is Mastering?
Mastering adds the final sonic touch to a mixed song. It is the final process performed on a song before it gets released and distributed. Mastering aims to address the following issues
1. Matching a song's sonic character to that of other songs on the same album or sequence, so listening to them in sequence feels natural.
2. Optimizing loudness, so the song doesn't sound softer than other songs that might be played before or after it.
3. Adding the last touch of sonic enhancement to the mixed song, addressing macro problems such as harshness, muddiness or lopsided stereo balance, and complementing the mix with subtle global adjustments to EQ, clarity, warmth, punch and wideness.
Mastering is a quicker process than mixing and makes less of a difference on the overall sound of your song than mixing, but is nonetheless important as a finishing touch after mixing. It polishes the final mix so all the elements sound as good or better, while achieving extra loudness and 'glue'. Mastering is the final bridge between the mix and distribution.
No two mastering jobs are the same. The nuances of the source material make all the difference in how the engineer approaches mastering, and different engineers have different styles. Engineers may need to merely fine-tune a recording before it's ready to be distributed. Other times, a mix might require a significant amount of cleaning up. Regardless of the project, the goal of mastering remains the same: to ensure audio sounds great across multiple platforms and on different speakers. Mastering is as much a creative art as it is a science and is just as important as other elements in the production process. Get it wrong, and your listeners might think a track sounds "too loud and harsh" or "too muffled or weak" Get it right, and assuming the production and mix are good, your listeners will enjoy the experience.
Different Mastering Techniques
There are various techniques involved in audio mastering. Engineers might use some or all of the following:
Compression and limiting: Compressors and Limiters reduce the dynamic range of the final mix, and when used with taste, make the mix sound fuller, louder and more cohesive. It's easy to squash a mix with poor use of compressors and limiters so you want to work with an engineer who has experience, a good listening environment, a great set of ears and good gear.
Clipping: Some mastering engineers push their A to D converters or use software clippers to subtly lop off the peaks of an audio file, to achieve increased perceived loudness.
Equalization: Optimizing for a sonic balance that complements the song, often described in adjectives such warmth, huge bottom, brightness, openness or airiness.
Sequencing and spacing: If you are mastering an entire album, spacing lets you determine the amount of silence between each track, sequencing of their order, and fades during song endings.
Creative Effects: Other effects include subtle reverb on the whole mix, distortion, stereo widener or filters.
Restoration: This process gets rid of any issues or unwanted sounds, such as pops, clicks, hum, and hiss.
Preparation for distribution: Some engineers will prepare audio files based on particular specifications of online music stores and streaming websites such as iTunes, Spotify, Apple Music, or CDs. This might entail adjusting the file format, bit rate, sample rate and metadata depending on your needs, and the platform you are distributing to. Other mastering engineers deliver a high resolution Wave file is often sufficient based on your needs.
How to Choose a Mastering Engineer
Not all mastering engineers are the same. Some important factors to consider when choosing an engineer are experience, gear, listening environment and specialization in a particular genre. There are some benefits to choosing an engineer who has mastered recordings in your genre. Listen to examples of his or her work. This gives you a feel for their work and lets you decide whether an engineer is right for you. Do they specialize in mastering? It might be fine that they do other things, as long as they are devoted enough to the art and science of mastering to have the proper gear, a well tuned critical listening environment and experience.
On SoundBetter you can listen to sound samples, research a mastering engineer's experience, and read reviews of previous clients.
Keep in mind that while the most renowned sound engineers might charge thousands of dollars for their services, some offer reduced rates to indie artists and producers. Also, some engineers might charge you less if you pay for several songs or an entire album in advance. Keep in mind that mastering is a relatively affordable step in the process, so probably not worth skimping on.
How to Prep Your Mixes for Mastering
The first step of preparing a mix for mastering, is to be sure you love the mix. Don't expect mastering to fix a mix you don't love.
Once you are happy with the mix, simply export the tracks to a stereo file from your DAW (Digital Audio Workstation), with the same sample rate and bitrate as your original mix session. If it's 16/44.1, use that. Same goes for 24/48, and so on. Don't upsample (export from a lower to a higher sample rate).
This is probably the most critical piece of advice when sending a song for mastering - Make sure there is headroom. In other words pay attention that you aren't clipping or regularly peaking your master bus. The mastering engineer needs some room to manipulate the audio file. A mix that is very 'hot' doesn't leave them that room. One of the biggest pet peeves shared by engineers is audio mixes that are too loud. These recordings are difficult to master and might result in a finished product that sounds very similar to the final mix. -3 dB of headroom is usually fine, but the rule of thumb is simply make sure the mastering engineer has headroom to do their work.
If you have any plugins on your master bus, you can remove them, unless they are creative effects that are integral to the production. Generally speaking compressors, EQs and limiters should be removed. If this causes your track to clip you can just pull your master fader back a bit, or leave a limiter on, but set it to no gain reduction - rather just to catch the few peaks, so you don't clip the DAW's master bus. If you do leave a limiter on, make sure you have dither set to 'off'. If you see the limiter is gain reducing a lot, even though you didn't set it to gain reduce (i.e you set it to 0 or -.01), that means you're hitting the input of the master bus too hot, and you should pull back the faders on your individual tracks. If you do need to pull all your individual tracks down by a couple of dB, make sure you account for tracks that have automation written as they may 'bounce back' to their original position. You can avoid this by lowering all the tracks through the automation, rather than using the faders.
Make sure you review your mix to remove any pops or clicks. You may not notice these but if they exist they may be accentuated in mastering. It's helpful to listen to individual tracks soloed to catch these. Pay particular attention to where you have edits. If you didn't fade edits, you might have digital pops that are easy to miss when many tracks are playing together, but that should be addressed.
Lastly, align your expectations. Some clients expect too much from mastering. There are subtle things that can be done in mastering to shape and optimize loudness, tone, punch and intensity. However mastering is not mixing. Mastering can only slightly improve a mix. It doesn't replace the need for a great recording, production and mix. Those are the ingredients that make all the difference. Mastering is just the cherry on top.
Master your songs
Mastering is best left to professional mastering engineers. It is affordable enough, that squeezing 5% more shine out of your track, as opposed to reducing the quality by 5% by not working with a pro mastering engineer, is usually a good investment after you've put in all the work to get to that point. Prepping your mixes for mastering and hiring a great engineer with experience in your genre could provide you with just the right touch to take your track from great to awesome. Do remember though, that a mastering engineer can shine a diamond, but not create one.