if you have an album ready for mastering and want to get a sample from me, i’ll always provide that for potential clients, at not charge and no obligation from you.

most ME’s offer this service… an artist/mastering engineer relationship is an important one… and if you’ve spent months, or more, of your sweat and soul making an album, you want the right fit from an engineer for your music. maybe it’s me, maybe it’s someone else, but a sample of YOUR music is the best way for you to make that decision.

feel free to get in touch:


:slight_smile: one of the cool things
about lines!
this is it…
if you got something going, and think @taylor12k would do it good,
hit him up
one of the 'best in the business


I am looking for some recommendations for someone that does mastering. I am in an band that plays electronic disco ish songs and some slow jams…all pretty spacey sounding. We are looking to have out latest song we recorded(a slower one) master so it can sound great when we have out music video all finished up. Does anyone have any recommendations on someone that does mastering and is not in the loudness wars? Please let me know.

for reference


I can’t pass up an opportunity to recommend Gregg at Heremetech Mastering. He’s easy to work with, has an ear for electronic music, and def not a loudness warrior.



Lines member Taylor Deupree (@taylor12k) does mastering (in addition to great music) and if I had something worth getting properly mastered he’d be my first choice…


thanks @oscillateur and @bendu i will check them out.


I’ve been reading through this thread for the past week or two and much perspective has been gained.
Thank y’all for contributing.

Recently I downloaded Foobar as my new music library software and listening to different styles of music while looking at the built in spectrum analyzer has given me a lot to think about. Seeing what frequencies are how loud from song to song is enlightening when thinking about how I want my own music to sound.


ck the guitar solo at 1:28
same line
clean in the left channel
'blitzed out in the right :slight_smile:


This is a great hour with mastering engineer Mandy Parnell. She talks about all kinds of things beyond strictly mastering and echoes @taylor12k 's comments above about the importance of the artist/mastering engineer relationship.

Quite impressed by the audience questions at the end as well - a minimum of speeches disguised as questions. :slight_smile:


Sure, because if you do that they won’t have a job :crazy_face:


Does anyone have any experience with processing left and right channels of a stereo mix one at a time and then putting them back together again? I’m wondering what the correct way to do this is. I’m asking because I want to use a Neve channel strip I have at work to master my final tracks but it’s only mono. I would love to get my basic mastering settings with plugins first but then duplicate them on the Neve. I just don’t know if its the same and I feel like I could encounter phasing problems when putting it back together.


i’d convert the LR signal to M/S before running the M then the S in the mono strip.
Settings for each channel would probably need to be different.


I’d have a reference on both tracks like a click that you could match back up on the sample level if you try this.


I do a lot of things “wrong” and it works for me :slight_smile:

I work on headphones only. Very familiar, very comfortable headphones that I’ve used for years. I make “headphone music” anyway, and the acoustics of the room I have available are pretty poor, so it just makes sense.

My recording process is pretty much as if I’m recording a live show – no stems, no sub-mixes, no pre-effect recordings, etc. just a “final” stereo recording. So all my mixing decisions are part of sound design and composition/improvisation. Every “voice” from the hardware has its own channel for FX, levels, EQ etc. in the DAW. I have a general “not too quiet, but don’t clip” goal for the recording process itself. During that stage I like Toneboosters Barricade (limiter/compressor) and Toneboosters EQ (which can do dynamic EQ and/or mid/side and has nice spectrum visualization).

I do my editing on that stereo recording in Sound Forge Pro 10, rather than a DAW. It’s good for visualizing levels, and has some really nice tools for dynamics and EQ that I’ve been working with for a while and am quite comfortable with.

My first editing pass isn’t too strenuous – “top and tail” (start and end of the track) and some general “get the levels approximately right-ish” work. I save the heavy stuff for after I’ve listened with fresh ears, and decided whether the track is a keeper.

When mastering, I always try a couple of favorite presets in u-he Presswerk for “glue” and bringing out subtle details, more so than getting levels just so. About 60% of the time, one of them will makes the whole track sound a little better. Other than that I stick with Sound Forge’s own tools, and have a goal around -14dB LUFS with a max peak of -1dB.


a big part of mastering for me is listening and if your only hearing a mono mix of a stereo that seams like it might cause some unexpected results or phasing. but i am no expert in this space.


Sweet spots for eq, compression and gain will likely be vastly different between your in the box solution and the neve channel strip, your best bet is probably to get it sounding as good as possible in terms of whatever processing you want to do - eq compression etc - then run it flat through the neve and back in again - one side at a time. Set the fader to 0 and use a 1khz tone to set the input gain so your channel strip output level is the same as what you’re feeding in, then run the mix through. Should be noted as well That doing something like this will only sound as good as your converters.


i’m no expert either. Indeed this process would involve a few iterations to get it sounding right and would probably be a bit frustrating as it is impossible to adjust on the fly. About phase issues there should be none as long as all channels are sewn together back correctly and no EQ happens on the outboard strip.
Maybe i’d just squash the Mid in the Neve, and then try various proportions of “squashed Mid”, “original Mid”, and “original Side”.


Whoops I was thinking I was replying to the original comment not your response. Sorry


some great relevant content in the QPAS thread:

discussion has been re-directed here.


I am no expert. Regarding loudness - LUFS. I’ve been mastering my own stuff (using UAD mastering plugins) and as more of my music is released to streaming services I found this table handy.

I use iZotope RX7 Loudness plug-in to measure and make sure my tracks are in range for the streaming services and equal loudness from track to track.

I try and listen to my mastered music on as many different devices as possible including, car stereos, Bandcamp streaming (before I publish) and particularly on iPhone and iPad device headphones.

Platform Peak Loudness Dynamic Range
iTunes Store -0.1dBTP -9 to -13 LUFS >9DR
iTunes Radio -0.1 dBTP -15 to -16.5 LUFS >9DR
Youtube -0.1 dBTP -12 to -14 LUFS >9DR
Spotify -0.1 dBTP -13 to -15 LUFS >9DR
CD -0.1 dBTP > -9 LUFS >9DR
Club Play -0.1 dBTP -7.5 to -9 LUFS >8DR
Soundcloud -1dBTP -9 LUFS >9DR