My Mastering Philosophy

 In years past mastering was purposely meant to be transparent. Music was recorded through big analog consoles, with lots of hardware and recorded on great sounding tape machines. This resulted with a "sonic richness" in the recording and mixing process. So on the last stage of the production process (mastering) was required to be as clean/transparent as possible.

 Fast forward to today productions, we are recording to a DAW (digital audio workstation) Lots of albums are being tracked in smaller studios straight to digital with less hardware and no tape. Mixing ITB with plug-ins which are great tools but lack the sonic richness and depth of analog hardware pre amps compressors and equalizers.

 So I believe that when I'm mastering I need to add back some smooth polish, punch and depth that is lacking in a lot of todays modern mixes.  I run through hi end analog mastering gear and also run ½ inch tape as part of the mastering process. (which I do include in my mastering fee.) (most mastering engineers charge an extra fee for “tape stamping”)

 The other factor is working in a  room that is scientifically designed (my room is designed by Wec Lachot Design Group). Modifications by Mike Johnson. World Class monitoring set up and great AD DA conversion. ( I utilize Burl B2 Bombers)

 One thing I notice is downstream (distribution, streaming, u tube, TV and film) that if your music has been mastered with a wealth of analog gear and attention to detail it will still sound great when going out into the consumer realm. Masters done with plug ins and without a proper acoustical environment suffer from what I call “digitis” (digital harshness/cold) Loud and brash come to mind.

 I take pride in every project my name is attached to and always deliver 1st class service.

 If you have any questions please feel free to reach out and I'll gladly chat with you!!

 Stay Creative

 James