Frequently Asked Questions

  • Mastering is the process of finalizing music by delicately balancing art and science. Mastering relies on empirical data, collected through technical analysis. Mastering requires emotional insight, steered by intuition and a deep connection to the music. Great records are born from a balance of both.

    Generally speaking, mastering is composed of three discrete processes:

    • Mastering is ensuring there are no errors by use of quality control.

    • Mastering is objectively fine-tuning the program audio.

    • Mastering is assembling the required files for distribution.

    Mastering is the last stop your record makes before it’s released into the world. It’s the last chance to get everything right and to make it the best version it can be. These finishing touches are my specialty and my passion. Your record deserves nothing less.

    I wrote an article that provides more detail about what mastering is.

  • The quickest way to get on my desk is to complete my intake form. If I don’t have a completed intake form, I will not start on your record.

    But in general:

    Singles: 5 business days
    EPs: 7 business days
    Albums: 3 or more weeks

    Plan accordingly.

    Please let me know if you have an impending deadline and I’ll do my best to accommodate. I usually can. Additionally, you can check the box for rush service on the intake form if your deadline is yesterday. If my schedule allows, I will do my best to rush the project.

    Transparency and planning ahead is always a best practice. No matter what, I’ll set clear expectations about timing and let you know if anything changes.

  • My approach always begins with listening—really listening. With years of experience behind the desk, I’ve learned that the most effective mastering starts by hearing the artist’s intent, understanding the nuances of the mix, and identifying any gaps between the two. Only then do I reach for my tools.

    Using a finely tuned chain of tools, I make both micro and macro adjustments—rounding harsh edges, enhancing low-level detail, and balancing dynamics. The goal is always to bring cohesion, clarity, and a finished feel to the record, with just the right dose of loudness, movement, and vibe.

    The moves I make might be incremental, but they are intentional and impactful. And, you can rest assured I won’t make changes for change’s sake.

    So what sets me apart? I listen—not just to the sound, but to the story, the emotion, and the intent behind it. I listen to make sure the audience will feel that intent and excitement. I listen to provide feedback and ensure that the mix is complete. I listen to guide the process of refining and finishing the record.

    As a former artist, producer, studio owner, and mix engineer, I’ve stood on all sides of the glass. I understand what you’re aiming for—and what it takes to get there—because I’ve been in your shoes.

    One last note: A master is only as strong as its mix. I’m always happy to offer mix feedback before mastering begins—to make sure nothing gets in the way of your sound translating clearly and confidently.

  • No. But sometimes, yes.



    I include two revisions in the base mastering fee. The truth is, most of the artists I work with don’t need them—because I take the time upfront to understand what you’re going for. I listen closely to the mix, get a feel for your references, and make sure I’m aligned with your intent before I touch any piece of gear.

    That said, if you do have a revision request, I’m happy to make adjustments. Revisions are often about things like track spacing, overall loudness, or sequencing—not major tonal changes. If we find ourselves needing more than two rounds of sound-related revisions, it’s usually a sign that something in the mix may need to be revisited.

    If you decide to send an updated mix after mastering, just know that a new session will need to be created from scratch. Mastering isn’t a one-size-fits-all preset I can simply drop a new file into—every mix is unique (no matter how minute the changes are) and calls for a fresh approach. I also run a full round of quality control on any new mix, and that takes time. It’s all part of making sure your final master meets the same high standard as the original, but it does involve additional work and therefore incurs an extra fee.

  • You can call it whatever you want. I love vinyl and you do, too. That's what matters. We can love it together.

    However, in both casual and professional conversations, especially in the music industry, "vinyl" is treated as an uncountable or mass noun, similar to how you would refer to "furniture" or "equipment."

    Personally, I consider vinyl an adjective, mostly. So the singular would be a "vinyl record". And the plural would be "vinyl records".

    Sometimes I use it as a noun. For example, "Let's go shopping for vinyl." Personally I never say, "Let's go shopping for vinyls." The plural is inferred.

    There you go, and knowing is half the battle.