Have your song, EP, or full length record mastered with both analog & digital gear. Dynamic range will be preserved & stereo width perfected to present your music to your listeners they way you heard it in your head. Independent & amateur artists your music will cut through the cacophony of modern sound.
As your mastering engineer listening is my primary job. Only what’s needed will be applied unless you choose otherwise. Mastered files will be radio & streaming ready. When I’m mastering your song for vinyl extra attention is given to stereo width, bass extension, and top end clarity. Genre is no obstacle. Cold & digital mixes paired with analog gear bring the life, energy, & brilliance forward and into your fans ears.
Bring your singles, EP’s, & full length albums,live recordings, preparation for vinyl, & audio restoration to LandFill Sessions. Your files can be imbedded with ISRC & metadata should you need it.
Everyone’s music is different and requires a unique approach. Costs are adjusted per the project.
Send me an email through 'Contact' button above and I'll get back to you asap.
Interview with LandFill Sessions
Q: What questions do you ask prospective clients?
A: Do you have at minimum a dithered 1644 wav file? What’s your schedule?
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Trick question. This Drawmer 1973, 1974, a box of various transformers, the monitors, and the room
Q: What was your career path? How long have you been doing this?
A: Started going to local studios, began listening to local artists and providing suggestions, transistioned to creating my own studio where I can listen and master without struggle.
Q: How would you describe your style?
A: Smooth roughness.
Q: Which artist would you like to work with and why?
A: Tasha Baxter. She has an ear for haunting melodies.
Q: Can you share one music production tip?
A: Take breaks for your ears and learn about perceived loudness.
Q: What type of music do you usually work on?
A: Electronic (all types) and hip hop.
Q: What's your strongest skill?
A: Listening and knowing what tool to use.
Q: What do you bring to a song?
A: I don’t make the music as loud as possible by default.
Q: What's your typical work process?
A: Beginning with listening to the material and then listening again referencing the clients suggestions and notes. Edits are made to files with a brief a/b comparison to listen for continuity. I then work the good stuff, and massage out what’s missing. Listening demos are sent and subsequent edits are made.
Q: Tell us about your studio setup.
A: Dynaudio M1 monitors with a Genelec 7060A sub with remote bypass. A pair of Avantone mixcubes are used for checking translation. Most processing is analog with a pair of transformers that can inserted if needed.
Q: What other musicians or music production professionals inspire you?
A: Bob Katz, Jon Gooch
Q: Describe the most common type of work you do for your clients.
A: Consulting on self mixed/engineered
Q: What questions do you ask prospective clients?
A: Do you have at minimum a dithered 1644 wav file? What’s your schedule?
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Trick question. This Drawmer 1973, 1974, a box of various transformers, the monitors, and the room
Q: What was your career path? How long have you been doing this?
A: Started going to local studios, began listening to local artists and providing suggestions, transistioned to creating my own studio where I can listen and master without struggle.
Q: How would you describe your style?
A: Smooth roughness.
Q: Which artist would you like to work with and why?
A: Tasha Baxter. She has an ear for haunting melodies.
Q: Can you share one music production tip?
A: Take breaks for your ears and learn about perceived loudness.
Q: What type of music do you usually work on?
A: Electronic (all types) and hip hop.
Q: What's your strongest skill?
A: Listening and knowing what tool to use.
Q: What do you bring to a song?
A: I don’t make the music as loud as possible by default.
Q: What's your typical work process?
A: Beginning with listening to the material and then listening again referencing the clients suggestions and notes. Edits are made to files with a brief a/b comparison to listen for continuity. I then work the good stuff, and massage out what’s missing. Listening demos are sent and subsequent edits are made.
Q: Tell us about your studio setup.
A: Dynaudio M1 monitors with a Genelec 7060A sub with remote bypass. A pair of Avantone mixcubes are used for checking translation. Most processing is analog with a pair of transformers that can inserted if needed.
Q: What other musicians or music production professionals inspire you?
A: Bob Katz, Jon Gooch
Q: Describe the most common type of work you do for your clients.
A: Consulting on self mixed/engineered
I was the Mastering engineer in this production
Services are Invoiced & paid for before mastering begins. Ad-hoc requests will be invoiced & paid in full prior to receiving files.
- Rich Mullins
- Spor
- Tasha Baxter
- TK Audio T-Komp
- Drawmer 1974 EQ
- Drawmer 1973 Multiband compressor
- Drawmer 1976 Multiband Saturation & Width
- vintage transformers(custom)
- matched pair program EQ’s
