Please find detailed descriptions of my services below along with my standard rates.
As a supporter of the both the independent and local music communities, I can offer competitive rates for unsigned bands. I realize every project is unique, so please don't hesitate to reach out. I will do my best to work with your budget.
Jump to a specific section using the links below, or if you'd like a quote, fill out my Project Inquiry Form to get the process started.
Mastering is the actual process of enhancing your mixes so they sound the best they possibly can.
All mastering rates include:
Unattended mastering is billed per audio-minute, rounded (up or down) to the half-minute. There is a 3 audio-minute minimum charge.
|• New Clients||$18||USD|
|• Returning Clients||$16||USD|
|• Mastering for Vinyl||$8||USD|
|• TV Tracks,||$5||USD|
For example, a new client charge for mastering a 30 minute record would be: $18 x 30 = $540.
The same mastering charge for a returning client would be: $16 x 30 = $480.
All attended mastering sessions are billed by the hour in quarter-hour increments. This includes attended revisions.
|• New Clients||$200||USD|
|• Returning Clients||$180||USD|
I always strive to create dynamic and sonically balanced tracks, so it's possible your mastered audio will work for both digital distribution and vinyl.
However, mastering for vinyl does require special consideration in order to bring out the full warmth and sonic range of the format.
At the end of the day, listening to records is a mechanical process, so there are many variables at play.
If you do need separate mastering for vinyl, it's typically a variation on the settings that were used for digital distribution, so there is already a sonic starting point.
While many of the issues noted here are addressed during the normal mastering process, some of them are also stylistic elements found in certain musical genres. They could be reasons you may need separate masters for vinyl.
Also check out the Vinyl Production Masters section below for more information.
Once mastering is complete and all your mastered audio has been approved, it may need further preparation depending on your specific distribution targets.
Physical and digital distribution formats are constantly evolving, so it's entirely possible you may need your masters optimized and delivered in multiple formats.
I am an Apple approved Mastered for iTunes (MFiT) engineer.
For a release to be officially badged as "Mastered for iTunes", the masters delivered to iTunes must be created by an engineer on their official MFiT Provider List.
You do not need MFiT files to release your music on iTunes - only if you want your release to have the official "Mastered for iTunes" badge.
I follow Apple's required protocols for mastering engineers by encoding all tracks using Apple's AAC iTunes+ Codec to ensure they are free of clipping. The encoded files are then auditioned to make sure there are no audible distortions.
Your mixes must be delivered to mastering at a minimum of 44.1 kHz / 24 bit. Mastered audio will be returned at 24 bit for delivery to iTunes who will then encode them.
Vinyl Production Masters are typically a single high resolution digital audio file for each side of the record. It's sent to your vinyl cutting house along with a track list containing detailed timing information.
Due to physical differences between the outer and inner parts of the disc, the order of your tracks is an important consideration with vinyl.
A great rule of thumb is to put your loudest, heaviest tracks with more frequency information at the beginning of each side, and put your less dynamic tracks with less frequency information at the end of each side.
Also in play is how much audio can fit on a side. That can vary depending on the record size (12", 10", 7"), record speed (33 1/3 rpm, 45 rpm, 78 rpm) and desired loudness.
It's not uncommon for the vinyl release of an album to have a slightly different track order vs the digital release.
In some cases, tracks may be edited or even left off the vinyl release to achieve a shorter playing time, or to get each side equal in length.
With a little forward planning and some consultation with the cutting house, we can maximize the potential of your vinyl and produce the best release possible.
For clients making Compact Discs, I create a DDPi (Disc Description Protocol image) for delivery to a replication facility.
It's the ideal format for an absolutely error-free master, creating a superior sounding CD which is also more reliable across a wide range of players.
This is all combined into a digital image of the Compact Disc. Also included is a track list containing detailed timing information.
Clients can download the exact same image and listen to it with my included software player, which also allows them to burn their own reference discs.
A PreMaster CD (PMCD) is a specially formatted, recordable Compact Disc designed to be sent to a CD pressing plant for replication.
I do not recommend using this format for making Compact Discs, but in some cases it may be necessary.
If your manufacturer cannot accept a DDPi, it is still possible to create a PMCD using high quality drives and CD-R media.
The PreMaster is quality controlled by both listening to it and running a check on the physical layer of the disc. Once that's done, it shouldn't be played or handled to prevent any scratching, fingerprints or other damage.
I can also create CD References which are burned on the same quality media, but are not quality controlled. Clients can burn CD References themselves using my software CD image player. These should only be used for listening and not as production masters.
Making a PMCD is a little more expensive due to the extra time taken for quality control and shipping. A DDPi is highly recommended instead.
Physical media will deteriorate quickly. If you've got old DATs, cassettes, vinyl or even VHS tapes, it can be saved and brought back to life.
The first step to restoring audio is preserving it by transferring to digital. From there, it's possible to enhance the audio in many ways.
Restoration projects are not only music focused, but have also included forensic applications for law enforcement and private investigation.
I have training in proper evidence handling, enhancement, analysis and interpretation from the National Center for Media Forensics.
Restoration projects can vary greatly in scope and are quoted per project. Please get in touch to discuss your specific needs.
Restoration can fix many things including:
Basic digital audio editing is included in both the mastering process and creation of production masters. Sometimes more involved editing is requested for a variety of reasons.
In a mastering context, clients often ask for new or different versions of their mastered audio. Common requests are to create shorter and also "clean" versions of songs for radio play.
Sometimes clients send a number of different mixes of the same song to be mastered - vocal up mix, instrumental mix, snare up mix or more. After mastering all versions, they may want to edit together sections from each to create a new version.
In all cases, audio editing needs to be seamless and totally transparent to the listener.
Other digital audio editing applications: