services

Essentially, mastering is detecting and correcting irregularities in the overall sound image that is projected onto the listener. This is mainly done through EQ, compression, enhancement and possibly noise reduction.

We achieve this primarily through the art of omission; The treasure is dug out first, as it were. That could be a few grains of sand or even a big scoop on certain resonances or dynamic extremes. The direct result is that the sound is experienced as much more detailed and balanced. This creates the space to assess the actual state of the music and determine where it should proceed aesthetically.

Flavor enhancers are always used sparingly, but if the material would benefit from a certain ‘sauce’, such as some tasteful harmonic distortion or a general emphasis, we will apply this without hesitation. However, all is done in the most deliberate and delicate form. After all, we’re talking about subtleties that could make or break a master.

In addition to and during the process just described, we work on a cohesive sound between all tracks that appear on the same album, if appropriate.

Mixes can differ greatly in terms of sound. Each mix with its inherent elements stands on its own. Due to creative choices, or when different locations and systems are used. Especially when it concerns mixtapes. In the mastering process, All tracks are pulled together soundwise and the levels matched to create a natural and related listening experience.

Once the album is arranged and the tracks are positioned, clean fades and pauses between tracks will intensify the listening experience. It is also beneficial for digital releases to take this into consideration by, for example, exporting some extra silence on the master at the end.

If you can’t quite get it done in the mix, and you find yourself fighting with it more than actually achieving the desired goal, it could supposedly be a candidate for our stem mastering services.

Stem mastering means that multiple tracks/groups per song are used to work with. This allows additional access to a number of important elements in the mix during the mastering process. These can then undergo separate processing in order to obtain a coherent whole.

The most common elements to take stems from are: drums, bass, instruments, vocals, backing vocals and fx.

Stem mastering is not a substitute for a second opinion mixing session. Because in the mastering process we mainly take into account the overall aesthetics and not so much the creative aspect.

Of course you can always ask us for tips by having your music reviewed first. This way you can gain more insight into where certain pain points emerge and how to act on them, prior to having it mastered.

This is similar to the regular mastering process. Except that the medium it will be pressed on requires a slightly different approach. The tools we use for this are the same.

The limited dynamic range and bandwidth of an LP, as well as the sensitivity of the stylus during playback, are the most important things to consider.

In the mastering process, this primarily means some compensating work with EQ and compression. In any case, the ultimate goal is always to achieve the most natural representation of the music. In fact, after proper mastering, you should hear virtually no difference from the same track on digital media.

Also known as the forensic department.

This service includes the removal of noise, hum, pops and clicks, or any other unwanted sound on the supplied material. Although that is not entirely true. Because, for example, we can’t make a bad singer magically disappear (but we might know a guy who knows a guy).

Because there are so many variables, it is necessary to have the material reviewed first, so that a correct time and price indication can be made, as this is calculated per hour.

A well-thought-out sequence of tracks can contribute enormously to the listening flow of an album. A strategic fade, crossfade or silence can intensify this flow. Allowing all music to be experienced as a natural whole. This is an often underestimated but important part of arranging an album.

All relevant metadata, such as CD-text, UPC and ISRC codes, are also included in this process. Subsequently, a DDP image file or/and a physical Redbook standard CD is created. The product is now ready for replication.

We advise our clients to provide the necessary data themselves in Gracenote’s online database soon as the CD is ready.

To obtain ISRC codes for your music, contact your national ISRC agency or get ISRC codes for free when using a digital distributor. You can also become a registrant by registering with your national ISRC agency (you will likely have to pay a small fee), to generate your own ISRCs.