Jack Haigh is a mastering engineer with over a decade of experience, and a leading name in the dubstep scene and beyond. With 18 years immersed in the industry, he has worked across international events from Asia to the USA, alongside extensive A&R work for labels worldwide, while also producing his own music.
Mastering engineer with 10+ years of professional experience and 18 years immersed in the electronic music industry.
I’ve worked with artists, labels, and promoters worldwide, helping producers achieve loud, clear, and impactful releases that translate across streaming platforms, clubs, festivals, and large-scale sound systems. My background extends beyond mastering, with extensive experience in A&R, artist development, and running events internationally across the UK, Europe, Asia, and the USA.
Specialising in bass music, dubstep, drum & bass, UK bass, and electronic music, I understand the technical demands of modern productions and the importance of maintaining energy, dynamics, and clarity while achieving competitive loudness.
Every project receives the same attention to detail, whether you’re preparing your first release or working on music for established labels. My goal is to enhance your vision, elevate your sound, and ensure your music stands confidently alongside today’s leading releases.
Services include:
• Stereo Mastering
• Mix Feedback & Consultation
• Mastering for Streaming & Club Playback
• Pre-Master Analysis
• Technical Release Preparation
Let’s make your music sound its absolute best.
Contact me through the green button above and let's get to work.
Interview with Grey Mastering
Q: What are you working on at the moment?
A: I'm working a tonne of labels and artist over Europe, Asia and USA. Pushing the sound of producer's from the Philippines such as Ezzrei and working with renowned artists like Hypho in the USA. I am also part of OneFortyAsia where we run inclusive events across China, Thailand, India and much more.
Q: Analog or digital and why?
A: I am foremost all digital due to me locality changing fairly regular, I work across Asia in events and music so use various spaces. I have used both hardware and software in my past but learn towards an ITB setup.
Q: What's your 'promise' to your clients?
A: You are happy with the product or full refund.
Q: What do you like most about your job?
A: I get to listen to a lot of great music and also support the industry from artist up.
Q: What questions do customers most commonly ask you? What's your answer?
A: How do i prepare a premaster... I send them to my website https://www.greymastering.com/post/prepare-track-for-premaster-ableton-live-12
Q: What's the biggest misconception about what you do?
A: We just turn it up.
Q: What questions do you ask prospective clients?
A: • What do you want the listener to feel when they hear this record? • Do you have any reference tracks for tone, energy, or overall sound? • Where will this music primarily be played... streaming platforms, clubs, festivals, radio, vinyl, or all of the above? • Are there any aspects of the mix you’re particularly happy with or concerned about? • Is there anything you definitely don’t want changed during mastering? • What’s the intended release plan... independent release, label release, or promo use?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Don’t choose a mastering engineer based solely on loudness, gear lists, or follower counts. Choose someone who understands your music, communicates well, and can explain why they’re making certain decisions. A great mastering engineer should enhance your record without compromising its identity. They should be honest about potential mix issues, provide constructive feedback when needed, and focus on how the music translates in the real world... not just how it looks on a meter. I’d also encourage artists to listen to previous work, ask questions, and find someone who genuinely understands their genre and audience. The best results come from collaboration and trust, not simply uploading a file and receiving a louder version back. Most importantly, remember that mastering can only bring out the best in what’s already there. Investing time into strong songwriting, sound selection, arrangement, and mixing will always have a bigger impact than chasing the loudest master. The right mastering engineer should feel like a trusted final set of ears—someone who is invested in helping your music reach its full potential.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Macbook Pro Audeze LCD-X RME Babyface Pro Power Generator Cooling system
Q: What was your career path? How long have you been doing this?
A: My career in music began on the A&R side of the industry, where I worked with labels between 2011 and 2014, helping discover and develop talent while gaining a deep understanding of what makes records connect with audiences. One notable record label in this time was Screwloose Records where I worked with names such as Koan Sound. Shortly after this I worked with Acute who managed Flowdan and had amazing time learning skills from Nikki there. In 2014, I transitioned into being a full-time artist as one half of The Greys. Since then, I’ve toured extensively across the USA, Asia, and Europe, released music on major labels, and gained first-hand experience of how records perform both in the studio and on world-class sound systems. I also ran events and provided agency support for Sub.Mission in Denver in this time, running full-scale events in Bristol, UK bringing artists such as Icicle, Kahn, Vivek and Ternion Sound to the city. Alongside my artist career, I began mastering professionally in 2017. What started as a natural extension of my production knowledge evolved into a full-time profession, and I’ve now spent nearly a decade helping artists refine and elevate their music for release.
Q: How would you describe your style?
A: My style is focused on clarity, balance, and translation above all else. While achieving competitive loudness is important, I never sacrifice musicality, dynamics, or long-term listening quality simply to chase higher numbers.
Q: Which artist would you like to work with and why?
A: If I could work with any artists, it would be Flying Lotus and Moderat. Both create music that resonates with me on a deeper level because they consistently balance technical innovation with genuine emotion. Their records aren’t just sonically impressive... they tell stories, create atmosphere, and evoke feeling in a way that transcends genre boundaries.
Q: Can you share one music production tip?
A: My favourite production tip is: less is more. For years, I found that the more channels I added, the harder it became to achieve a clean, powerful mix. These days, I often limit myself to around 15 channels when producing, forcing every sound to earn its place in the arrangement. Working with fewer elements creates more clarity, better separation, and leaves room for the sounds that truly matter. It also makes mixing and mastering significantly easier because there is less competition across the frequency spectrum. Before adding another layer, ask yourself: “Is this improving the track, or am I adding it because I think I should?” More often than not, the strongest records are built from a handful of great sounds rather than dozens of average ones.
Q: What type of music do you usually work on?
A: I work on typical UKG, Dubstep and Drum & Bass.
Q: What's your strongest skill?
A: My strongest skill is combining technical mastering expertise with real-world artist experience. I’m not only a mastering engineer... I’m also a producer, DJ, and have toured internationally, performed on legendary sound systems from USA to China, and released my own music with many credible labels. That means I understand the entire journey of a record, from the studio to the dancefloor. When I master a track, I’m not just looking at meters and waveforms. I’m listening from the perspective of an artist, a DJ, a label, and an audience member. I know how a record needs to translate on club systems, festival rigs, streaming platforms, and everyday playback devices because I’ve experienced those environments firsthand. My background in A&R and working with artists worldwide has also taught me how to identify the small details that can elevate a track from sounding good to feeling competitive at a professional level. Ultimately, my strongest skill is helping artists bridge the gap between creative vision and commercial-ready sound while staying true to what makes their music unique.
Q: What do you bring to a song?
A: My goal isn’t simply to make a song loude... it’s to enhance its clarity, depth, and energy while respecting the artist’s vision. Every project receives critical listening, detailed tonal balancing, dynamic control, stereo enhancement where appropriate, and quality control checks across multiple playback systems.
Q: What's your typical work process?
A: Every project starts with understanding the artist’s vision. I’ll listen to the track, any reference records you’ve provided, and identify what the song needs to reach its full potential. I begin with a detailed analysis of the mix, checking tonal balance, dynamics, stereo imaging, phase coherence, and overall translation. If I spot any issues that could limit the final result, I’ll provide honest feedback and suggestions before mastering.
Q: Tell us about your studio setup.
A: Equipment Playback Devices Adam A7V Audeze LCD-X (2021) RME ADI-2 FS Software DAWs Ableton 12 Reaper Plugins Acustica – Ash Black Box – HG-2 & MS DMG Audio – Limitless, Multiplicity FabFilter – Pro-Q 4 Oeksound – Soothe3 Naturl Audio - AL-1 Ozone 12 Advanced Schwabe Digital – Gold Clip Sir Audio – Standard Clip Tone Projects – Basslane Pro, Michelangelo, Unisum
Q: What other musicians or music production professionals inspire you?
A: I’m inspired by artists who constantly push boundaries and develop a unique sonic identity rather than following trends. Producers such as Machinedrum, Flying Lotus, Anna Morgan, Blawan, Sorrow, and Synkro have all influenced the way I think about sound design, atmosphere, groove, and emotional impact within electronic music. From an engineering perspective, I’ve always admired professionals who combine technical excellence with musicality. Engineers such as Matt Davis, Bob Macc, and Beau from Ten Eight Seven have been huge inspirations. Their ability to enhance a record while preserving the artist’s intent is something I deeply respect and strive for in my own work.
Q: Describe the most common type of work you do for your clients.
A: * A mastering engineer with 10+ years of experience * Deeply connected to the bass music and electronic scene * Founder of Grey Mastering * Experienced in A&R and talent development * Involved in international events from Asia to the USA * Someone who understands both the technical and commercial side of music
