Delivering professional digital audio mastering & master lacquers. I have worked on several King Gizzard records, Juan MacLean (DFA), Correspondant, Disco Halal...
I've been perfecting my craft on digital audio mastering and master lacquer cutting for several years.
My services can be digital audio mastering, vinyl pre-mastering, vinyl mastering, or all of that together.
I work on 1000+ tracks a year, including albums from King Gizzard, Juan MacLean, Correspondant, Disco Halal/Moscoman, Moshi Moshi, Caballero & JeanJass, Guy Gerber, Multi Culti...and many more !
I do a lot of club music, so that would probably be a specialization I guess, but what I like about my work is diversity !
Send me a note through the contact button above.
- Michel Jonasz
- Jacques Higelin
- Believe Digital
- Jennifer Cardini
- Simple Symmetry
- Man Power’s Me Me Me
- The Juan MacLean
- In Flagranti
- La Mverte
- Holy Ghost!
- Rex The Dog
- Kasper Bjørke
- Marvin & Guy
- Disco Halal
- Adam Port
- Biologic Records
- Pred & Scott
- DC Salas
- Acid Washed
- Ombra Intl
- King gizzard & The lizard wizard
- Benjamin Biolay (Fr)
- caballero & jeanjass
- Juan MacLean
- Yan Wagner
- Multi Culti
- Red Axes
2 ReviewsEndorse Sam Berdah Mastering
I got Sam to master a track for was a pleasure to deal, great clarity with my track, would use again!
Sam is part of the younger generation of Mastering Engineer here in France.
You can trust him to handle your project to the highest level without any doubt !!!
Go check him out for premium result :)
Interview with Sam Berdah Mastering
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I'm extremely happy with most if not all projects tbh.
Q: What are you working on at the moment?
A: I've just re-mastered Dustin O'Halloran's first album Piano Solos.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Oh yeah there are probably a lot a friends in there. I'm thinking of my friend Matthieu Brismontier for example who is an amazing producer.
Q: Analog or digital and why?
A: Both. As much as I like the feel of a real knob under my hands and the interaction between machines in an analog chain that gives this "sound", some digital processors today are giving us incredible options as well.
Q: What's your 'promise' to your clients?
A: I will respect your work and make it sound the best I could no matter how big you are.
Q: What do you like most about your job?
A: Working on so much music from many different places is a real gift.
Q: What questions do customers most commonly ask you? What's your answer?
A: "What LUFS did you go for?" I never ever pay attention to LUFS values. I run a calibrated monitoring and will use this to decide how loud I want to go.
Q: What's the biggest misconception about what you do?
A: "We'll fix it in the mastering phase"
Q: What questions do you ask prospective clients?
A: If I can listen to things? What format are they aiming for?
Q: What advice do you have for a customer looking to hire a provider like you?
A: See if you get along when talking first. A good communication often leads to better results.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My monitors, a converter, and then...probably two EQs and one comp.
Q: What was your career path? How long have you been doing this?
A: I was a DJ at first, then produced my own things, done mixing for people and started mastering in 2016.
Q: How would you describe your style?
A: Now that's complicated.
Q: Which artist would you like to work with and why?
A: I would have loved to work for Andrew Weatherall because he's always been a true inspiration and also a great supporter of my work.
Q: Can you share one music production tip?
A: Of course. Don't do things "because that's we do". Think about them first. Also, especially when mixing your tracks, try to take most decisions "in context". Making one stem after the other to sound nice is cool, but this is not what we wanna do. We want to make them sound good together.
Q: What type of music do you usually work on?
A: Club Music probably is 80% of my work
Q: What's your strongest skill?
A: Making things sound punchy without squashing them
Q: What do you bring to a song?
A: I spend a lot of time trying to understand the artists intention and this is what I try to enhance.
Q: What's your typical work process?
A: I would first setup a session and enter markers and metadata while listening to the tracks. Then I would tweak the sources gains to have something consistent and get to my outboards at the level I want. I'd process one track after the other, do some fine adjustments at the end if necessary, adjust markers and fades and bounce. I would then QC and send over the work if I'm happy with it.
Q: Tell us about your studio setup.
A: The most important thing in a mastering setup is monitoring. Understand monitors, room, conversion. I'm happy I can trust my monitoring take good decisions. Then I have 4 EQs and 3 dynamic processors in my rack I can chose from and a range of plugins that I usually use pre-analog chain if necessary for surgical moves.
Q: What other musicians or music production professionals inspire you?
A: Anything from Versatile and/or the late Andrew Weatherall. I love to share views with cutting engineers as well.
Q: Describe the most common type of work you do for your clients.
A: Stereo mastering