The last set of ears before it leaves.

What mastering actually does

Mastering is not a loudness button and it is not a rescue service. It's the point where somebody who didn't make your record listens to it as a record — checking that the low end is controlled rather than merely present, that the top isn't brittle at volume, that the balance you fell in love with at 2am still reads at conversation level the next morning.

The work itself is small and deliberate: broad tonal shaping, dynamic control that serves the arrangement rather than flattening it, and level set for streaming rather than for a meter. If your mix already does what you want, you should hear the master as your mix — just steadier, wider and harder to argue with.

Who sends me mixes

Mostly artists and producers who mix their own material and want a second opinion that costs them a fixed, published amount rather than an open-ended studio day. Darkwave, synth, electronic and guitar records make up most of the room's diet, but the process doesn't change with the genre — only the reference points do.

It also suits anyone about to release on a schedule. One track, one price, one turnaround, and a person who answers their own email.

What you send, and what comes back

A single stereo file per track — WAV or AIFF at 24-bit, with headroom left on the mix bus and any limiter taken off it. That's the whole preparation. If you're not sure your export is right, send it anyway and I'll tell you before anything starts.

Back come release-ready files: 24-bit and 16-bit WAV plus a 320k MP3, level-matched for streaming, with alternate versions on request. Revisions are free and uncapped inside the delivery window — if it isn't right, it isn't finished.

Hear it before you pay for it

New clients get the first half of one track mastered free. It answers the only question that matters — does this engineer make my music sound like the record I hear in my head — better than any pricing table can.