Any mastering studio is only as good as the engineer, and there’s no substitute for experience, attention to detail, and professional integrity. However, I understand that the equipment I use can be of interest and helps get a picture in your mind of the studio.
Room Frequency Response – REW Measurement taken January 2021.
There’s no black magic or dark art in mastering. Instead, the monitoring environment of a mastering room is what sets this profession apart from other audio specialties.
I work in a flat sounding room (+/- 1 dB frequency deviation across the frequency spectrum), and listen on a full-range ultra-accurate monitoring system. This allows me to hear details in your tracks with clarity, making it easy to make decisions and find the perfect settings for your music and to guarantee that your masters will translate and be consistent across all playback systems.
The mastering studio monitoring system is designed to provide ultra transparency and reveal the recordings most intricate nuances, enabling me to consistently produce and deliver quality masters, free of errors and oversights.
Kii THREE
Audeze – LCD-X
Merging Technologies – Anubis
TC Electronic – Clarity M
Studio Six Digital – SPL
The mastering studio analog chain is intended to be minimalistic and purpose-driven to provide efficiency and precision during the mastering session. I have at my disposal a delicate selection of various analogue outboard equipment ensuring maximum flexibility and power to add clarity, impact, energy, and detail to your recordings.
TK Audio – TK-lizer 2
Gyraf Audio – G14s
High Voltage Audio – EQ 6s
Gyraf Audio – G22
Rupert Neve Designs MBP
Solid State Logic – Fusion
Overstayer – MAS 8101
Handsome Audio – Zulu
The analogue outboard is complemented with DAWs and the best-in-class digital tools that enable processing not possible in the analogue world. My aim is always to seize the significant advantages of the analog world combined with the best of the digital world.
