Frequently Asked Questions

  • I hear your mix for the first time in a room I trust, with no history with the record. Before I touch anything, I listen for the intent of the record and the decisions that have already been made. What I reach for depends on what that record needs. Most records pass through my analog console, and some go further, through transformers or tape, when the music calls for it. I measure, adjust, and check, catching what could cause problems downstream as much as shaping the sound. If a mix is balanced and translating, I leave it alone. Knowing when to stop is part of the job.

    One thing worth knowing upfront: I’m glad to look at a mix before you commit, and I’ll flag any issues I catch rather than quietly working around them. A few notes early on can save a revision later. Just ask.

  • 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.

  • Rates vary by project. If you'd like to discuss pricing first, reach out directly. Ready to get started? Fill out my intake form and we're officially underway.

  • 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 (varies by project scope)

    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 you need it yesterday. Rush projects carry an additional fee. If my schedule allows, I will prioritize the project. I will set expectations before work begins and keep you updated if timing shifts for any reason.

    • 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.

    Working from tape, cassette, DAT, ADAT, or MiniDisc? See “Do you transfer and restore older formats?” below.

  • If you think you’ll ever need an instrumental, TV mix, a cappella, or clean version, send them with the main mixes. When I master them in the same session, they go through the exact same chain at the same settings, so they line up with the main master and can be edited into it without a level or tone jump. That matters for clean edits and for sync, where a music supervisor might cut between the vocal and instrumental versions.

    Alternates sent after the project wraps get billed as new masters, since they need a fresh session, and analog gear never recalls perfectly. Do it once and you’re covered.

  • 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’re 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’re 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’m 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.

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

  • 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.

  • Yes. I transfer and restore analog tape, cassette, DAT, ADAT, and MiniDisc, and I’ve done archival work on unreleased material that hadn’t been played in decades. My Otari MTR-10 handles ¼” two-track tape, and I can bake tapes that have developed sticky-shed before they go anywhere near a play head. Get in touch before you ship anything so we can talk about format, condition, and what you need back.

  • 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.