Top Mastering Engineers for Hire
Polish your mix with professional mastering
- Genre arrow_drop_down
- Profile name arrow_drop_down
Search by profile namesearch
- Recommended arrow_drop_down
Camilo Silva F : 2X Latin Grammy Award winning mastering engineer and pro audio equipment manufacturer. We're Apple MFiT Certified studio. Some of my credits include : Carlos Vives, Andres Cepeda, Morat, LosPetitFellas,Mojito Lite, Zoé.... Camilo is a Universal Audio endorsed artist, AES full time member, LARAS member and also a teacher.
Mastering specialist @ George Martin's AIR Studios, London. Analogue mastering at one of the most prodigious and respected facilities. 2014 Pro Sound Awards WINNER! DUE TO HIGH DEMAND I'M UNABLE TO ACCEPT SINGLE SONG PROJECTS
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.
Free counseling during the project, send your request now!
Past-President of the Audio Engineering Society (AES) worldwide, Andres provides a FREE audio quality report that really helps you to get the most out of your mixes before mastering. Mayo boasts credits in over 2,500 albums released on all formats since 1991. Send us one unmastered mix and you will get a 100% free audio quality report in 48 hours.
Hi-Fidelity Radio Ready + Spotify/AppleMusic Ready — Love working on new genre blends + unique sounds Years of garage bands and indie tours accumulated to Hey Monday’s signing to Columbia Records tours with Fall Out Boy, 50 Cent, and All American Rejects. Founder of Blossöm Records in Hollywood, Cali.
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.
Specializing in Electronic Dance Music of all genres, Gosteffects is available to help bring your productions to the next level whether it is mixing, sound design, arrangement, or programing electronic components for rock bands. Also available to take your midi and run it through classic analog synths such as Oberheim, Roland, to bring music alive.
Mixing and mastering engineer at Above Ground Studios designed by audio guru Frank Comentale. I recently mixed and mastered Tate Kobang's "Bank Rolls Remix" (#4 Spotify #22 Billboard, HBO "Ballers", MTV "Wildin Out", Playstation "Watch Dogs 2") and Lil Mo's "Come See Me" (remix) feat. Party Next Door and Drake.
Hi, I'm Tom Frampton, owner of Mastering The Mix. Want to sound as good as your favourite artist? You've come to the right place. I don't claim to have a secret sauce to add to your productions. My workflow is simple. I use the best tools available in an acoustically treated studio to get your music sounding amazing.
I provide professional audio mastering and mixing services for record labels, independent artists and distribution companies. My goal is to deliver a great sound in any musical genre.
We like to work on highly artistic and complex projects that requires high level of skills, judgement, and feel. Highly artistic projects, concept albums as well as Audiophile-type of albums are very welcome. We love working with unique and audacious independent artists as well as pop artist that are about to breakthrough.
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.
Epicenter Mastering is run by Mastering Engineer Gentry Studer, (yes, like the tape machine). Gentry is a 3X Grammy and Emmy Nominated, Juno Award and Belgium MIA Record of the Year winning Mastering Engineer. Working with indie and signed clients alike including: Metallica, Spoon, Incubus, and many more.
Hi, I'm Alex, owner and chief engineer of 'Masterlab', the number one online mastering service offering premium, affordable mastering for electronic music producers. With passion and dedication, we are committed to delivery exactly what you need on time, every time.
My initial and significant contact with the world of audio production was when I started to get really interested in Hip-Hop music and began the urge to produce my own instrumentals. Due to that, I made the decision to academically complete, when I started to really get into the world of Audio Production, Mixing and Mastering.
I am an experienced postgraduate Audio Producer & Sound Designer. I am a signed artist on my solo project to a UK based label. I love producing for various genres and projects, films, adverts, singers, rappers... I have also majored in Synthesis and Mix & Mastering modules, and have been trained by Metropolis Studio, and Revolution Mastering.
Specialized in Electronic music Production, mixing and Mastering of Techno, Industrial, EBM, Acid, Hardtechno, Trance. Released already 6 vinyl records with different alias (about:kaos, Kaoslog) for European Labes. Performed all over Europe in Festivals and Clubs.
Mixing and Mastering based in Northeast Ohio, at Soothsayer we want your ideas to come to life on a grand scale. My main focus at Soothsayer Audio is to overdeliver great results to happy clients. As a musician I understand that not only should your music sound great but the process should be fun! No egos, no pressure, just great music!
Hello. My name is Eric "Punisher" Broxton. I have been recording, mixing and Mastering for 15 years. My expertise is with Pop Music/ Hard Rock / and Metal instrumentals as well co-writing with other artists in order to perfect my craft.
Hey, I am Satyam, a mixing, and mastering engineer. Graduated from Berklee College of Music in Music Production. I have extensive knowledge in digital mastering and mixing various genres of music such as electronic, rock, pop, jazz and world music. Apart from this, I am an instructor at Sound Engineering Department at Seamedu Academy, Bangalore.
I'll make your song ready for radio, streaming services, and online stores. Simple as that. I do all genres from disco to house music to jazz. Electronic and multi-track recording projects and of course hybrids of both.
Hi my name is Jannick and i'm a mastering engineer. I'm not going to give you the big sales pitch, because honestly all I care about is that you are happy with your song and it has the quality all songs deserves to have. My goal is to give you the song that YOU want and I always work until you are satisfied with the product.
We are a cheap, modern, new-age studio, with high quality software to make the sounds you need. We can do mostly anything related to music, from mixing/mastering services to making background music for a game or movie. Our producers work for +-20,- an hour, so we are able to keep the price low! Goosebumps Studios, for your musical needs!
Are you tired of bland, cookie-cutter music? So am I, and I can offer the potential production of a track that breaks defined standards AND stands out, in a fast timeframe. Mixing, mastering, and vocal production services also offered.
Increasingly, discerning artists, producers, directors and agency executives are shunning big, impersonal facilities houses for more private, intimate studios owned and operated by people who care, creative people who are passionately involved in delivering a more flexible, high-end offering.
Producer/Mixing and Mastering Engineer One half of production duo Bordertown. Have done some high profile remixes including Yoko Ono, Avicii, Iggy Azalea and Rita Ora. Have done mixing and mastering for various indie labels and majors.
Mixing, mastering engineer and producer specialising in House & Techno. I have released and worked with some of the top industry labels such as Nervous Records, Simma Black, Madtech, Twisted Fusion, to name a few. Some artists credits include Max Chapman (Toolroom), Pete Dorling (Hot Creations), Jhonsson (Lost Records/Knee Deep In Sound) see more>
I am the owner and Chief Mastering Engineer at Neato Mastering in Oakland, CA. I'm the President of the SF Chapter of the Recording Academy. I'm also an active member of the AES, Women's Audio Mission, and is an Audio Engineering Professor. I enjoy being a nice person and running a good business.
Mastering - Vinyl and DigitalJoe Lambert Masteringfavorite_borderfavorite115 Christopher Columbus Dr
Joe is a multi Grammy-nominated Mastering engineer. Our fantastic mastering room is in the heart of booming downtown Jersey City. We've collected the best in high end vintage analog gear and the latest digital technology to make the best sounding records possible.. Clients include Animal Collective, Moby, City and Colour, etc.
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.
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.