Music First Mastering

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Monitors (Kii Three + BXT), Headphones (Audeze - LCD-X), Chair (Herman Miller), Room (Custom Designed), Bobby (My Studio Dog).

Q: What's the biggest misconception about what you do?

A: That we simply look to make music louder. Loudness and playback levels are an important part of my job, hitting the perfect zone where any increased maximisation is bringing a positive enhancement and a certain density to the sound is part of the skillset of an experienced Mastering Engineer.

Q: Which artist would you like to work with and why?

A: Calvin Harris. Back at the very start of his career, he interviewed me as part of a Pete Tong show. It'd be great to come full circle especially given the phenomenal success he has achieved.

Q: What type of music do you usually work on?

A: I work my magic throughout a diversity of modern styles, from Pop chart mega hits to underground Dance anthems, from Rap & Hip-Hop monster beats to eclectic Electronic.

Q: What was your career path? How long have you been doing this?

A: I've been working as a professional mastering engineer for 18 years, 11 of which running my studio, The Fat Mastering. As a teenager, I had two passions, one for music and the other for technology. While at university, these interests become entwined into the pursuit of understanding how audio equipment operated. Graduating with a Masters Degree in electronic engineering with a dissertation on my design and build of a VST controlled analogue compression unit. While studying, I became heavily involved in the Sheffield (UK) dance music scene, producing and releasing music that would lead to my first mastering gig for one of these record labels. By graduation, an internship in a local production and mastering facility was already in place. I spent the next seven years learning my craft while furthering my knowledge with a Diploma of Higher Education in music, sound and technology. By 2010 I was handling the senior mastering work and decided that it was time to establish my own company, The Fat Mastering. Shortly after this, I became a member of the professional body Music Producers Guild and started to work closely with a broad range of industry professionals. Into the present, I continue to look to improve every aspect of my work and business. I'm always on the pulse of new and emerging technologies and looking for new and exciting clients.

Q: Describe the most common type of work you do for your clients.

A: As a dedicated Mastering Engineer I'm responsible for the final stage in the production process prior to release. I'm the fresh ears and ideas that take a project across the finishing line. This involves enhancements to the client's audio and also ensuring that all of the required levels are optimally set before delivering correctly formatted media that's ready for distribution.

Q: What do you bring to a song?

A: I'm a fresh set of ears. I can confidently push a project over the finishing line and equally breathe life into one that requires a new perspective. I'm in a different studio space. The final Mastering stage includes quality control. Moving a project into a new space can help illuminate any areas of the mixing space that may be less than perfect.