Alexander
von Hoersten

Audio Mastering for Streaming Services – CD – Vinyl Transfer

Mastering is the final creative step in the audio production process. It offers me the opportunity to emphasize the artistic intent of the music and bring the musical performance closer to the listener, by making the music sound as good as possible. To accomplish this, I rely on close communication with clients and meticulous attention to detail.

  • Copyright Anne Linke
  • Copyright Anne Linke
  • Copyright Anne Linke

Room

30sqm acoustic by Harris Grant

Monitoring

Genelec 1038, Focal Clear MG Pro

Conversion

Merging Anubis

Analog Processing

Zähl EQ1, FCS P3S ME

Digital Processing

Softube Weiss DS1-MK3 & EQ1, + selected plugins

DAW

Mac Mini, Wavelab Pro 11, iZotope RX9

Anna Pape, Antep Haze, Ælyx, Age Eternal, Baby Huebner, Bad News, Chris Luno, Coco Cobra, Cologne, Constantin John, Crush Hour, Dusa, Echo In, Efdemin, Felice, Fenge, Filburt, Flood, fl_000, Fun Total, Gustaaf, Humble Tx, Hendrik Otremba, Jagu, Janis Zilinski, Joachim Franz Büchner Band, Johannes Albert, Julian Muldoon, Julius Optic, Lauer, Lawrence, Lila Sovia, Markus Rieger, Mal Mirage, Memoryboy, Mense Reents, Messer, Mey Brother, Milo Milone, Pantha du Prince, Paul Frick, Pose Dia, Raison, Ratigan Era, Rimini Express, Rouvian, Samuel Savenberg,  Schwesta Ebra, Shan, Spatz, Station 17, SXF, thiiir, Timm Völker, Tonikk, Toto Belmont, Vierkanttretlager, VRIL & His Master’s Voice, Weiße Pferde…

Alexander von Hoersten Portrait - Copyright Anne Linke
hello@avonh.de

Alexander von Hörsten
@ Syrinx Productions GmbH, Mexikoring 33, 22297 Hamburg
+ 49 (0) 176 55125074

Checklist Mastering

This is a checklist for some important aspects before sending your music to mastering.

1. Audio files of the mixes in .zip file - sent via wetransfer

    • example:
      03_autotune
      03_autotune_vers3
    • example stem:
      03_autotune_stem_vocal
    • example vinyl:
      A3_autotune

      • If the music is being transferred to vinyl, keep in mind that playback distortion and damped playback of high frequencies will increase towards the center of the record. When determining the running order, you may choose not to put tracks with strong or delicate high frequency content towards the end of a side.

  • A digital peak meter may not show the true peak values of the audio due to inter -sample peaks. By keeping the peak level at around -3dBFS, there is enough headroom to avoid distortion.

  • Heavily compressed or peak limited mixes restrict the amount of processing that can be applied in mastering. If you use mix bus processing only for the sake of loudness, this is very likely to be more effective when mastering. You can print mixes with and without the mix bus processing, if you are not sure. If you sent louder peak limited mixes for approval to the artist or producer, it is important to also send them to mastering for reference.

    • Sibilant vocals or other intense high frequency information

      A lot of high frequency information and sibilant vocals can result in playback distortion when the music is being transferred to vinyl. The processing required to take care of sibilance in a track during mastering will have an effect on all the other instruments appearing in the sibilant frequency area. It is better to take care of it adequately during mixing. If you need help addressing issues with sibilance, hit me up!

    • Missing or muted tracks

      Listen to the final mixes for elements that are missing. Checking the mixes before mastering makes sure the mix is delivered as intended.

    • Unwanted noise

      Make sure to carefully check every mix for unwanted noise like clicks, pops, distortion and vocal-plosives after rendering and before sending it to mastering. Leave a few seconds before and after the song to keep any potentially problematic noise like hiss, buzz or hum. That makes it easier to use the noise as a fingerprint for applying noise reduction if necessary. If you want me to apply specific trims or fades, let me know.

    • Complete beginning and ending of the track

      It is good to leave one or two seconds before the beginning and after the end of a track to avoid loosing any crucial element.

2. Information (*if available)

Download List

Booking Request

Master formats 16bit/44.1kHz and 24bit/44.1kHz are included

Add master format

All Prices in EUR excl. VAT