Mastering

Mastering is often seen as a Dark Art, shrouded in mystery. And while it may be a complex task, the aim is simple: prepare the finished mix for both digital and physical release out into the world. Mastering engineers give you an objective set of ears who can identify how your mixes can be processed in order to enhance their impact, while also addressing issues that might result in your music not translating as well on different playback systems.

Having trained with Steve Albini, I have a specific perspective on the mastering process. I view the mastering engineers role as one that must respect the hours and hours of creative and technical work that has already been done by everyone involved so far to get your music from idea, to song, to recording, to a final mix that is ready for mastering and release. I approach each mastering project with a sense of responsibility to all that effort. I aim to provide a master that is a bigger, better version of your vision, but without ever trying to reshape what you’ve worked so hard to achieve.

To do that, the first step of my approach is always to actively listen to the tracks. I do this in an acoustically treated environment, through Genelec 8341 monitors that have been measured and tuned with Genelec’s SAM system, using Apogee digital-to-analogue converters. This gives me a reliable, accurate presentation of your music.

If there are any issues with the mix that will prevent me getting the absolute best results out of the mastering process, I will work with you to get those figured out and resolved.

I use a hybrid approach to processing, with a mix of in-the-box and hardware processing. I use industry standard plugins from companies like Fabfilter, Universal Audio, Isotope RX and many more - whatever each particular track needs. My hardware processing chain includes a Custom Audio Germany HDE-250A built to my own specifications, and a Rupert Neve Designs Master Buss Processor.

    • A download link with access to all the stereo mixes you need mastered, including any radio edits or instrumental versions.

    • The files should be in .wav or .aiff format, in the sample rate and bit depth the tracks were recorded at.

    • A reference track should be provided to give an indication of the loudness levels you want for your project.

    • ISRC codes for each track if you are intending to have CDs produced. For tracks being uploaded to digital distribution and streaming services, you should enter the ISRC codes when uploading to your distributors platform.

  • I will provide the following, based on what you need for your project:

    • Downloadable .wav files for the digital master of each track, radio edit or instrumental

    • Downloadable .wav files for the vinyl master of each track, as well as A and B side files.

    • Downloadable DDP image file for CD production use

    Deliverables will all be agreed at the outset of the project.

    • €60 / track

    • €10 / track for vinyl, radio edit or instrumental masters

    Note: above rates are based on all work taking place as part of the same session. Vinyl, radio edit or instrumental masters requested after the initial session will be charged at the full per-track rate.

    If your project includes vinyl mastering, I would also ask that you send me a copy once you have the record pressed, where possible.

  • Up to 2 revisions are included. Further revisions will be charged at €10 each.

  • I do not offer stem mastering. One of my aims when mastering is to not leave a creative fingerprint on the track. I want to preserve your creative vision, while enhancing it.

    “Stem Mastering” is mixing by another name, where groups of tracks are exported as “stems” and provided to the mastering engineer.

    While this might make some of a mastering engineers work easier than working on stereo mix, it often results in a blurring of the lines between the mixing and mastering processes.

    My advice is to get to a stereo mix that you love the sound of, and highlight to your mastering engineer anything you weren’t quite able to get sounding exactly how you wanted it.

  • Yes, but nothing scary!

    By submitting your music to me for mastering you are agreeing to the following:

    1. Masters sent to you for approval will be reviewed promptly. I try to hold some time in case a revision is needed, but if there is a delay getting approval, delivery of your requests might be delayed due to other scheduled projects.

    2. Finalised files and invoices will be sent when approval has been received on all masters. Payment is due within 2 weeks of invoice date.

    3. Unless otherwise specified, you agree to grant permissions and licenses for me to use excerpts of the music I have mastered for you, and its artwork, for creation of promotional material. Note: I will not use any of the mastered music prior to release.

    4. While extensive quality control is exercised to make sure the final master files provided are error free, all files should be re-checked before digital distribution or use for physical media production. I will resolve any issues that arise with the masters I provide that are brought to my attention, but am not liable for any cost or damage caused by using the files provided.

Bantum, Blood Donor, Casavettes, Conor Deasy, Elaine Malone, Elephant, Esmée, FutureWest, Grainne Hunt, Hibsen, John Haughey, Just Mustard, Mary Wallopers, Swimmers Jackson, Participant, Pastiche, The Chapters, The Dandelion Few, The Expert, The Shaking, Tomorrows, Tooms, Trickmist, Under Starling, Waiting Space

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