Frequently Asked Questions

  • Mastering starts with deep, focused listening to understand the intent of the record. From there it's a balance of empirical data and emotional insight, technical precision and quality control, catching what could cause problems downstream as much as shaping the sound. If there are mix issues worth addressing before we start, I'll flag them. Getting that foundation right is part of the process.

    One thing worth knowing upfront: I'm glad to look at a mix before you commit. A few notes early on can save a revision later, and I'd rather give you that feedback than quietly work around something that could have been addressed. Just ask.

    A master is only as strong as the mix it starts with, and I take that seriously on both ends of the chain.

  • That's most of what I do. The majority of projects that come to me arrive through a producer or mix engineer, not always directly from the artist.

    If you're managing the project, we communicate directly. You handle the approvals, the revisions, and the delivery. If you want your client looped in at any point, just let me know and I'll accommodate that. If you'd prefer to keep the relationship between us, I respect that too.

    Either way, the process is the same: I master the record, send you a preview with notes, and we go from there. If you have notes, alternate versions, or specific technical requests, send them along with the files. The more context the better.

  • The quickest way to get on my schedule is to fill out the intake form. I can't begin work without it, so if your mixes are still being finished, submit early and lock your spot in the queue.

    But in general:

    Singles: 5 business days
    EPs: 7 business days
    Albums: 2 or more weeks

    Plan accordingly.

    If you have a specific or urgent deadline, please let me know. I can usually accommodate, and there is an option on the intake form to request rush service when time is tight. If my schedule allows, I will prioritize the project.

    Clear communication and planning ahead are always the best approach. I will set expectations before work begins and keep you updated if timing shifts for any reason.

  • I like to be transparent with the money stuff. My 2026 rates are posted here, and if you’d like a tailored quote for your project, please fill out my intake form. It’s quick, and helps me get you a price fast.

  • No. But sometimes, yes.

    I include two revisions in the base mastering fee. In practice, many projects are approved without needing them, largely because I spend time upfront understanding what you are aiming for. Before any work begins, I listen carefully to the mix, review references, and make sure I have a clear sense of your intent and priorities.

    When revisions do come up, they are typically small refinements such as track spacing, sequencing, loudness, or subtle shifts in tone or impact. If a project starts to require multiple rounds of sound-related changes, it can be a sign that something in the mix itself may need adjustment. In those cases, I am always happy to offer guidance on what to address before moving forward.

    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 change is) and calls for a fresh approach. I also run a full round of quality control on any new mix, and that takes time.

    The goal is always clarity and efficiency. I want the final master to reflect your intent with confidence.

    For tips on preparing mixes to minimize revisions, see Mix Preparation and File Delivery for Mastering.

    • 32-bit float WAV or AIFF preferred, 24-bit acceptable

    • Export at your native sample rate

    • No dithering before sending

    If you have questions about a specific deliverable format or stem configuration, reach out before submitting.

  • Attended sessions are available for select projects, are priced separately, and are subject to schedule availability. Reach out before submitting to discuss whether it makes sense for your project.

  • Mat LEF-ler SHULL-min
    /mæt ˈlɛf.lər ˈʃʌl.mɪn/

  • 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." I would never say, "Let's go shopping for vinyls." The plural is inferred.

    There you go, and knowing is half the battle.