Mastering Engineer (PRO)

Q: Analog or digital and why?

A: In general most of what I do takes place in the digital domain. Nowadays, so much cool stuff can be done using software and the technology behind it keeps getting better. However, when the project is fit for it, I will use hardware for an analog touch. Overall I don't believe in the ''analog is always better'' statement, but I do agree that it can have a specific touch that is more difficult to achieve using software, but I don't believe it is always necessary.

Q: What's the biggest misconception about what you do?

A: Sometimes it's the idea of what can be fixed during the mastering process. The better the 'source', the better the outcome. I will always check what I can do to uplift the song, but there are limitations. When an issue is not fixable or should be tried in the mastering process, I will discuss this with the client to see how we can tackle this in the production or mixing.

Q: What was your career path? How long have you been doing this?

A: I started out producing club music about 10 years ago with a DJ collective that did a lot of shows in both clubs and festivals. During this period I did all the mixing and mastering myself, and that is where a lot of the groundwork was done. Because I was not a DJ myself, I was able to stand in the crowd during the shows and analyze our demos and how they sounded on big PA systems. This way I could make notes, go back to the studio and fix what I thought needed improvement. During this time I studied at a private audio engineering academy in a (mostly) analog recording studio. After this, I studied at one of the country's main Urban Music academies (Herman Brood Academy) as a producer and that is where I met my first clients for mixing and mastering. Within 2 years I started getting requests from industry-renowned artists about my services and allowed me to make my living out of it for 7+ years.

Q: How would you describe your style?

A: Loud but dynamic, colorful but not without losing the sonic direction that was made during the mixing process.

Q: Can you share one music production tip?

A: Try to limit your tool set to a selection that you feel good about. This way you will get to know your tools better and it can help you to keep oversight of what you need and what you can use in which situation. This goes both for hardware and software. For example; there are hundreds of different kinds of compressors, but that what you want to achieve can probably be done with a few specific plugins/ units. Once you find a variety that works for you, it will likely work in a lot of situations. Just think about it like this; back in the day they also had only a few options in the studio but they made masterpieces nonetheless. Try to keep this in mind.

Q: What type of music do you usually work on?

A: Urban, Urban-pop, Electronic Pop, Club music

Q: What do you bring to a song?

A: Often I am not for the loudest master, but for a good balance between the necessary loudness but with as much dynamics as I can manage to maintain. I hope to enhance the mix without destroying the sonic choices that were made during the mixing process.

Q: What's your typical work process?

A: For a standard mastering I receive the premaster files either in a full stem or split in two (instrumental and acapella). I will check the material and give some feedback on either the files or the mix, if necessary. Then I will do the mastering and deliver it back to the client (usually within 24 hours). From there we discuss feedback and what I can adjust untill we get the song where it needs to be.

Q: Tell us about your studio setup.

A: I am fortunate enough to be able to do my mastering in one of the prestine rooms of the internationally reknown Wisseloord Studios in Hilversum, The Netherlands. I work mainly in the box (using plugins like UAD, Fabfilter, iZotope, Plugin Alliance, etc) and going through Prism Sound converters into a pair of Egglestonworks Mastering-grade monitors.

Q: What other musicians or music production professionals inspire you?

A: Engineers like Jaycen Joshua, Mike Dean, Mike Marsh, Colin Leonard

Q: Describe the most common type of work you do for your clients.

A: Mainly I am doing standard or stem-mastering for more urban music focussed clients.