Top Mastering Engineers for Hire
Polish your mix with professional mastering
- Genre arrow_drop_down
- Recommended arrow_drop_down
Camilo Silva F : 2X Latin Grammy Award winning mastering engineer and pro audio equipment manufacturer. We're Apple MFiT Certified mastering room. Some of my credits include : Carlos Vives, Andres Cepeda, Pedrina y Rio, Telebit, Zoé.... Camilo is a Universal Audio endorsed artist, AES full time member, LARAS member and also a teacher.
Of the thousands of records I've Produced, 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.
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 ATM FROM NEW CLIENTS
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 complete audio quality report in 48 hours.
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.
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.
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.
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.
Mike Schoonmaker is the chief engineer as well as owner at Gigantic Mastering: a small mastering studio nestled away in Upstate NY. Every album he works on is approached with the artist's needs in mind: musical and 'tonal' references from the artist as well as unlimited revisions.
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>
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.
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.
Music is art and art is for the mind I strive to understand the demands and needs of my customers in order to provide their recordings with the sound, volume and presence they deserve. I am an Audio Engineer with a bachelor's degree in Audio Productions. Since the beginning of 2014 I run my own music and media production company.
I will mix and master your tracks to make them ready for charts, radios, festivals and clubs, Meticulous and knowing the industry standards and expectations, I will give your production the punch, details and clarity it needs to rock the charts.
To catch the feeling of a song and give it a unique character, is as important as technical skills and experience. I want my Mixes to be surprising to you but nevertheless will conform to all of your wishes.
Welcome to Wanalog Studios ;-) , Stem-Mastering to the next Level , at an unbeatable cost ( 50 $ for one song , you choose from a two bus to a 7 stereo stems , no prices changing )
Producing music since 2009 ,Ovylarock knowed from his remixes for high ranked artist's and productions signed with record labels around the world his talent producing EDM , Progressive House, Electro House ,Deep House and Big Room .
We offer top quality, quick & affordable mastering. Grammy Nom. Clients Include: Max Roach, Marky Mark, DJ Premier, Wu-Tang, Tom Jones, Skatalites, Peter Wolf, Magic Dick (J Geils), Mike Mangini, James Labrie (Dream Theater), RJD2, Coolio, many more. Free preview & No charge for "any" Revisions. Stem mastering & free mix consulting if desired.
I am highly specialized in music production, mixing, and mastering. My personal work under the name "Big Z" has gained over 5 million streams across SoundCloud and Spotify. My background experience ranges from dance to pop to hip hop music.
Hi, I'm Francesco Brini and i run Spectrum Mastering & Vinyl a dedicated mastering studio based in the center of Bologna, Italy. i've been mastering full time since 2010 and my credits includes Cassius, Pharrell, Swayzak, Mathew Jonson, Apparat and Lo Stato Sociale among others.
Hi, I am a remote mastering and mixing engineer and specialize in mixing pop, rock and dance. Since 2012 I have been working for a Dutch based jingle company, mixing and mastering for some of the greatest radiostations in the world. Through this job I have gained a lot of experience in great sounding vocals and "radio ready" productions.
Dominik is a Mastering Engineer at TWS Masterings in a team of three Engineers. TWS Masterings is specialised in EDM / Hip Hop and other electronic Music. TWS has mastered uncounted Trance/Tech-House/Techno and Hip Hop R'nB Tracks in the past five years. For a bunch of Jazz and Classic productions Dominik has been co-(mastering)engineer.
Hi my name is Antonio Ruggiero, I'm a mastering engineer with a background experience as recording and mixing engineer. I have mastered more than one hundred records. My studio is equipped with the finest analog and digital gears. Excellent acoustic of the room and superb monitoring are the strong foundation of my work.
Hi, I am German Pro working in the field of song writing, music production, mixing, mastering and arranging of strings and horns since 1988. I already worked on more than 50 albums and I wrote over 400 songs, ranging from Classical to Rock, from Pop to Dance, from EDM to electronic music and from Soul to Crossover.
High end mastering studio, located in Salford (U.K.) 1 mile from the centre of Manchester. Only analog/digital outboard not plug-ins. In October 2013 the artist Jaime Helios (Alicante, Spain) win the prestigious Hollywood Music and Media award with the song "Musa" (mixed and mastered at H-SOUND MASTERING studio).
On-Line Worldwide Services www.rmicstudio.com Hi-End Recording Studio for Music Production and Hi-End Mastering Suite (up to 192KHz/64-bit) Studio deals with TV, Film and Theatre soundtracks and Music Productions of many styles. Dr Makis Tselentis specializes in modern & vintage genres as Pop, Rock, Metal, Ethnic, Hip-Hop, Jazz e.t.c.
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.
Creating beautiful music and providing professional audio engineering services for a range of projects, WLM works with you for your sonic needs. We aim for the "wow" factor, because we absolutely love sound. It's an audiophile thing.
NYC Audio Professional since 1982. Owner of Firehouse Studio in NYC. Currently working out of Tel Aviv. Recorded and/or Mixed and/or Mastered the Wu Tang Clan. Gang Starr. Public Enemy. Das Efx. Subculture Sage. Jazzmattaz. and tons more Hip-Hop artists. In Israel mastered albums by Yudit Ravitz,Chava Alberstein,Yonatan Razel.Karni Postel and more
DaRen will mix, master, produce, co-produce, a radio ready BANGER Looking for that radio sounding mix, vocals, or production that grasp your ears and make you want to put the song on repeat? Are your songs missing that clarity and quality? I'm going to help you out and deliver you that BANGER you need to take your music to the next level!
Mixing and mastering engineer with lots of top pop and rock credits: Winning discs at the Carlos Gardel Awards in Argentina (2003, 2004, 2009, 2011). Nominations Gardel Awards (2004, 2009, 2011, 2012). Los Angeles Armenian Music Awards 2008, USA. Nomination Arpa Awards 2011 USA. Monster Music Awards, Mexico 2011. CONTACT ME THROUGH THE BLUE BUTTON
A black-sheep when it comes to the world of music. His friendly approach is equally important to his clients as his final mixes & masters. Brad believes in mixing with quality analog gear, and understands the sonic benefit it will bring to client's songs.
Mastering Engineer Larry Anthony became involved in the recording process in 1968 and has pursued this career ever since. Obtaining degrees in Electronics and Acoustics along with intense studies in Psycho-acoustics he has dedicated his 40+ years of Music Industry experience to focus exclusively on the best possible mastering processes.
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.