As an artist working in today’s new normal of self-released recordings, it’s challenging enough to guide your music from concept to final mix, now you’ve got to find the right situation for mastering – a key decision that can make or break your project.
It’s especially daunting to choose a mastering engineer when this critically important final step is offered by practically every engineer with a workstation.
Unless you’ve experienced the art of mastering at its best, it’s hard to distinguish one offering from another.
To be candid, there are pitfalls. Mixes are often dinged when mastered by less experienced hands, or when mix engineers are pushed to tack mastering onto the end of the mix. The majority of mix engineers don’t have the gear, environment, or distance from the work for proper mastering. A great mixing engineer is not always a mastering engineer.
The two skill sets and perspectives are very different.
I’ve seen these syndromes too many times when clients come to us for a remastering because something was lost right at the last step. That loss doesn’t happen here.
I would like to share with you some of the endearing reactions from recent clients:
“Hey Alan, I love these masters, I love hearing greater individual and group intention of the musicians. I love noticing more now how they played certain things.
Tonally and spatially, it feels brave to me. Sonically, your masters feel to me like a strong statement, in a good way.
The waltz, for one, feels gentler to me, and more in line with the intention of the song. I only listened to Fields and Cassel once tonight, but I really enjoyed the dynamic details. It was a blast hearing and feeling that depth and all the detail.” (JK)
“Man, I’m sorry, I had a speech written out with your name, thanking you profusely. I got flustered up there and skipped two or three lines. You know I love you and am convinced you are the most amazing mastering engineer in theworld.” (AO -2018 Grammy winning jazz artist)
Reactions like these are the product of a lifetime of deeply focused mastering experience.
I feel fortunate and privileged to be the recipient of messages like these and it makes my work passion, at times, a true joy.
I certainly get that artists face tough budget realities and I will work with you accordingly, open to the unique needs of your project.What I’m offering at a competitive indie rate is the experience of having worked on close to 10,000 tracks in my career, a stunningly clear and warm analog mastering chain, and a history of prestigious, ground-breaking, successful work. This level service can go for $200 to $500 a song, far above my indie track deal.
You will have direct contact with me, not just a booking manager or front desk person. Part of the responsibility to the art of mastering is having direct communication with the artist. Without this communication, a project won’t reach its fullest potential.
As a long-time client quipped recently, “Why risk not getting the most out of all that I’ve put into my music.”
I hope that we will work together and make your music sound the way you meant for it to sound!
“This was the most satisfying mastering experience of my life. Exquisite master, thank you from the bottom of my heart.” – JD Souther (Eagles, Linda Ronstadt, Bonnie Raitt)
Founder – Aerial Sound