Q: What inspired you to start mastr.ly?
A: Music has been part of my life since I was really young – started around 6 or 7, just trying to record songs with tape. By 13, I was spending time at the local radio station, trying to learn as much as possible. Got into computer music, and at 20, I opened my first studio. Had some good fortune when I recorded Trettmann’s first top-50 chart song there. Then life brought another blessing – I became a dad, which meant stepping back from the business side of music for about a decade. Studio nights just weren’t compatible with having a daughter. I kept mixing and mastering though, mostly helping friends with their projects. Two years ago, I decided to give music a bigger role again. I’ve been fortunate enough to work on tracks from talented artists from Jamaica to California to Germany – tracks featuring artists like Snoop Dogg, my old friend Prince Zimboo, and exciting upcoming artists from Africa like JahPlaka. mastr.ly is kind of a logical consequence of that work – I want to make great mixing and mastering accessible to artists everywhere, whether they’re in my network or not.
Q: What’s your process when approaching a new track?
A: There are really two or three aspects that I find crucial. First is critical listening – I usually start by spending time with the track, even before having a detailed conversation with the client. It helps me get a feel for the music and identify anything that might need attention before we even get to mixing or mastering. Because ultimately, the better the input, the better the output we can achieve.
Q: How do you align with the client’s vision?
A: It’s really about understanding their defining sound. I take time to learn what’s important to them in their music, what artistic choices they want to highlight in the final product. I’m happy to offer feedback if they’d like that too. I find it helpful to know what music inspires them, or if they have previous tracks that define their sound. This connects nicely with using references – while I have my own approach and there are industry standards, good reference tracks help balance everything with the artist’s vision.
Q: What’s your perspective on digital versus analog mastering?
A: I work digitally about 99 percent of the time. Modern DAWs can handle most things really well, and it’s also about what’s practical for the client. While I have access to vintage gear, it needs to be booked separately for sessions. For many clients, the extra cost of running their track through a vintage Studer Tape machine isn’t really feasible. Yes, using a real Pultec EQ is wonderful, but there are plugin emulations now that come remarkably close and work well for most music. I do enjoy adding some analog character with my tape machine sometimes, particularly in mixing – just running drums through the analog pre-amps can add such nice color, and using new-old-stock tape can really help capture that authentic boom-bap sound.
Q: Could you share your typical plugin chain for mastering?
A: Every track is different, and my approach keeps evolving, but there are some tools I often return to. Fabfilter Pro-Q is almost always there – it’s just such a clean tool with great workflow. I like using some coloring EQs for character too. The Pultec-style EQ isn’t just great for the famous “bass trick” – it can do wonderful things in the high end as well. I’ve really come to appreciate Sonible’s products lately – their smart EQ gives you a solid starting point most of the time, and their limiter is fantastic as a final stage. Another underrated gem is IK Multimedia’s T-Racks – it’s very affordable but powerful. Something quite new in my arsenal is Kraftur – this thing is really powerful when the material calls for being loud. I might add either a real tape machine or UAD’s Ampex emulation depending on what the material needs. My typical chain usually goes: Clean EQ → Coloring EQ → Light compression → Multiband limiting → Saturation → Final limiting.
Q: What’s your take on automated mastering tools like Ozone?
A: Ozone has definitely improved over time. I wasn’t too fond of the sound from version 8, but version 11 has made real progress. That said, it still works with some standard curves that I find a bit limiting, especially in the high end, and I’m not completely convinced by their limiter yet. The main challenge with automated tools is that they can’t really listen or understand the song and the artist’s vision. They’ll give you something that meets technical standards, but might miss the musical intention. Though I’ll admit, if I need a quick demo with decent loudness, Ozone can be helpful. But given even just 20 minutes, I’d rather use my mastering chain for better results.
You mention having a “no-bullshit approach” to working with clients. What does that mean in practice?
A: It’s really about being genuine with people. Sometimes that means telling an artist their track isn’t ready for mastering yet, or that they might be better off investing in a proper mix first. I’ve even referred artists to other engineers when I felt they’d be a better fit for the project. You know, it’s easy in this industry to just take every job that comes along, but I prefer being upfront with people. If I think something could be improved before mastering, I’ll say so. It’s not about losing business – it’s about making sure artists get what they actually need for their music, even if that means not working with me right now.
Q: How do you stay current with industry developments?
A: It’s really just part of my daily routine. I’m always listening to new productions, watching other engineers share their approaches – whether in lectures or on YouTube. I read about new developments, try out new plugins (though I try to keep my plugin folder manageable, so most new ones don’t stay long). Sometimes I’ll check out gear at friends’ studios or order something to try it out. It’s just a natural part of being involved in music.
Q: How can people connect with you about mastering services?
A: The simplest way is to book a free consultation call through our website. There’s no commitment required – it’s just a chance to have a conversation about your music and see if we might be a good fit.
