looking for THE mastering engineer to send major work to...

[mdjice]

Ok, I own a studio in Houston and I record and mix for a lot of major artists along with a few local acts (only a few I personally know)
I'm also the singer and producer on a few Platinum and gold certified records here in the US and in Europe.
I have clients requiring recording, mixing AND mastering. I'm looking for THE perfect engineer for my situation.
many times local acts won't have the budget to get stuff properly mastered so I end up having to do mastering which I can only do in a limited kind of way (I'm NOT a ME).
more then often it's enough for them but not for me.
majors are also requiring work for mastering from time to time especially if the song has to be out ASAP (which is often the case).
I'm looking for someone who has the knowledge, the equipment, the room, the speakers and most of all the EARS to work on the kind of jobs I would send him/her.
I mostly do Hip Hop, Pop, RnB and Some pop rock but more rarely.
If you are a specialized Rock Mastering engineer this is not for you.
I'm also looking for someone who will work with me and give me great deals as I will send all my work and my clients' work that need to be master to him/her but I still have to make somewhat of a profit for passing along the mastering as well (I bring the clients so it's only normal).
The mastering Engineer would need to do a BETTER job then me!!!
if I master a song dont like it and you send me something worst..it's not gonna work.
Please post here or PM me if you are interested. I will need the following:
-Credits
-resume
discounted fee you can do per track and per album ( remember I will send all my mastering work so pricing should be lower then you would quote one artists on a single job)
-Equipment with pics if possible

you can check out the links in my sig to know more about me.
I would also like everyone who is interested to master 1 song for me free of charge. I will send the same song to all to evaluate the final product.
again I'm looking for something for the long run
thank you
Mickael

[grandmasters]

With all those demands, you are going to get a very limited ME pool to respond to you. Most MEs worth their salt won't try to win you over, contest style, with a free song mastering.

I'm sure you wouldn't put your all into mixing a song for free, why would a ME? Doing anything free (besides gift or altruistically) is very hard to put heart into it.

My advice is to find a few engineers you like (just look on the indie albums you own), hire them to do one song, and see what you like. Not just the final result, but the whole experience. MEs have their own work flow and business practices (just like you do) I'd advise you not to interfere with your list of demands. Sure, you'll find someone, but I doubt you'll have the opportunity to get someone actually good.

IMHO, blaa blaa blaa

Noah

[mdjice]

Originally Posted by grandmasters

With all those demands, you are going to get a very limited ME pool to respond to you. Most MEs worth their salt won't try to win you over, contest style, with a free song mastering.

I'm sure you wouldn't put your all into mixing a song for free, why would a ME? Doing anything free (besides gift or altruistically) is very hard to put heart into it.

My advice is to find a few engineers you like (just look on the indie albums you own), hire them to do one song, and see what you like. Not just the final result, but the whole experience. MEs have their own work flow and business practices (just like you do) I'd advise you not to interfere with your list of demands. Sure, you'll find someone, but I doubt you'll have the opportunity to get someone actually good.

IMHO, blaa blaa blaa

Noah

Hi, thank you for your answer. I think anybody serious about their business will be whilling to do some work to get MORE work. It might not be the full song a mn or so will be enough.
Trust me I have done my share of FREE work in the past and that's what got me where I'm at today. How can I tell someone who Doesn't know me that I'm the best at something if I don't do anything to prove it?
Again, I'm looking for someone who is serious and talented. The mastering of a minute of one song is NOT a must if the engineer has major credits. I can listen to major released and judge if that person is the one I'm looking for but if one has talent but not much credits, a quick demonstration of skills shouldn't scare him or her away
thanks

[24-96 Mastering]

Originally Posted by grandmasters

With all those demands, you are going to get a very limited ME pool to respond to you. Most MEs worth their salt won't try to win you over, contest style, with a free song mastering.

I'm sure you wouldn't put your all into mixing a song for free, why would a ME? Doing anything free (besides gift or altruistically) is very hard to put heart into it.

My advice is to find a few engineers you like (just look on the indie albums you own), hire them to do one song, and see what you like. Not just the final result, but the whole experience. MEs have their own work flow and business practices (just like you do) I'd advise you not to interfere with your list of demands. Sure, you'll find someone, but I doubt you'll have the opportunity to get someone actually good.

IMHO, blaa blaa blaa

Noah

EDIT: I started writing this before you answered grandmaster's post. I'll leave the post anyway, even if it doesn't apply 100%.


+1

Mdjice, while your request sounds reasonable, it'll probably result in a typical kettle call and those are usually counterproductive.

Your proposed scenario would be starting off on the premise, that the ME has to prove himself (over probably countless others) and best please you in a very short term scenario and that, I believe, is a pretty counterproductive setup for a long term working relationship.

There is always a Quality Control aspect in mastering. In manufacturing, for example, QC staff should never be controlled by the boss of the production crew, and that is for a good reason. QC should primarily work to ensure a great product. In shootouts, especially round-ups / kettle calls, the healthy ratio between working for a great product and working to please the client gets kinda skewed, in my opinion.

In a working relationship, I know I will make a great master AND the client will be absolutely happy with the result. In a big shotout, those two aspects are not necessarily connected as much because if the two initially differ, there's no process leading to the ideal compromise (what a nice oxymoron). And finding the ideal compromise, if a compromise needs to be made, is what separates good mastering from bad mastering.

Please don't understand this to be lecturing, but I would advise you to seek a working relationship right from the start and skip the selection process. If you aren't sure who to pick, limit a shootout to a few select MEs and make sure that you enter a working process with each one. It WILL lead to better masters than 30 contestants taking guesses on your preferences and I believe it will lead to a better long term relationship and better long term results too.

[mdjice]

Originally Posted by 24-96 Mastering

+1

Mdjice, while your request sounds reasonable, it'll probably result in a typical kettle call and those are usually counterproductive.

Your proposed scenario would be starting off on the premise, that the ME has to prove himself (over probably countless others) and best please you in a very short term scenario and that, I believe, is a pretty counterproductive setup for a long term working relationship.

There is always a Quality Control aspect in mastering. In manufacturing, for example, QC staff should never be controlled by the boss of the production crew, and that is for a good reason. QC should primarily work to ensure a great product. In shootouts, especially round-ups / kettle calls, the healthy ratio between working for a great product and working to please the client gets kinda skewed, in my opinion.

In a working relationship, I know I will make a great master AND the client will be absolutely happy with the result. In a big shotout, those two aspects are not necessarily connected as much because if the two initially differ, there's no process leading to the ideal compromise (what a nice oxymoron). And finding the ideal compromise, if a compromise needs to be made, is what separates good mastering from bad mastering.

Please don't understand this to be lecturing, but I would advise you to seek a working relationship right from the start and skip the selection process. If you aren't sure who to pick, limit a shootout to a few select MEs and make sure that you enter a working process with each one. It WILL lead to better masters than 30 contestants taking guesses on your preferences and I believe it will lead to a better long term relationship and better long term results too.

I totally understand your point of view and agree but I still have to do the "selection" part for the simple reason that on a forum like this...every body with a cracked wave bundle can claim to be a ME.
if the ME has known credits that's fine by me but I would still like to hear his or her work on a song that I mixed. maybe we have a totally different "vision" on how a song should sound, it s very possible and that's why I need to know how his or her work sound in jonction with mine.it's not a competition and ME interested can remain anonymous and PM me for an email address.
I'm really looking for someone to work with. The ME will get some Great work credits as well, I mainly work with major artists.
thank you

[dhiltonlittle]

what cd's as a whole have you heard that you really thought worked/sounded great from beginning to end? do a little research and find out who mastered them, get a list of 3 or so ME's you are interested in and contact them. finding a great ME that you work well with can be a process but once you find one you really like and trust the quest is over! i don't know that it is fair to demand someone give you a discount up front. build a relationship and see if they offer a discount to you. if it's a good ME working on major label projects, i can assure you they are very busy and aren't going get involved in online competions to get a client. if you are interested in someone in particular contact them and i've never had any problems getting a sample of a track done before we continue with the record.

i can recommend matt @ mworks in boston.

[mdjice]

ok some of my work was previously mastered by Chris Gehringer at sterling and Herb Powers. i did like both. But i'm looking for someone that will be more involved in the projects rather then someone who has a million clients and a very limited amount of time for your project.
I also liked the MAStering on the simple plan's last album but I don't know who did it.
AS far as discounts, it's normal, it's business!!!
I bring you business you give me a break. I'm upfront about it so people won't be surprised or feel Like I tricked them.
I put everything loud and clear for who is interested
M

[jdg]

for info, ted jensen did simple plans last album

[mdjice]

Originally Posted by jdg

for info, ted jensen did simple plans last album

he did metalica's last album too ....lol
thx

[idlabs]

I'm in roughly the same boat as this. I do some major work from time to time and alot of indie work from my hometown and beyond. I've been searching for quite awhile for a great mastering engineer with the right price, right gear, and most importantly the sound I've been looking for. I've tried out a few guys for various projects (letting the clients know in advance that it was somewhat of an experiment) and I finally found the guy I was looking for in Kevin Nix at L. Nix Mastering in Memphis. I couldn't be happier so far with the projects I've sent him. I also specialize in hip-hop/rnb/pop. Though, I think Kevin stays busy enough that he wouldn't be interested in any discounted work or online competitions, but I can't speak for him. Anyway, thats my suggestion.

E

[aivoryuk]

Originally Posted by mdjice

he did metalica's last album too ....lol
thx

I wouldn't let that album put you off.

As you are in the Houston area you my want to check out Bob Boyd at Ambient Digital.

Ambient Digital Mastering Studio

[mdjice]

thank you guys keep it coming!!

[mdjice]

I decided to post a mix I'm working on.
it's almost 90% done. I still have a few tweak to do (BTW if you hear anthing you would adjust on the mix please do share
it's a club Pop/Rap song that I produced, recorded, mixed and sing on for a young rapper.
if you are intersted please master the first 1.30mn or so (intro hook and part of his rap) so I can hear you guys great work !!
thanks
M.

LINK:
http://www.thecoldchamber.com/gs/paparazzijan09.wav

[mdjice]

anyone else?

[Adam Dempsey]

Originally Posted by 24-96 Mastering

In shootouts, especially round-ups / kettle calls

(Hey Robin, I think you mean "cattle calls". )


But yes, I'm sure someone once put it: "would you choose a painter to paint your entire house based on comparing a group of painters' work of a window sill?"

Mastering is within context of the bigger picture/release.

And of course, by far, most of the time put into mastering a sample track is in the listening & set up, not the 1 min or whatever final run through/capture/bounce.

As mentioned, a working relationship, based on service and understanding, is really what most people are after.

[mdjice]

Originally Posted by Boomshanka

(Hey Robin, I think you mean "cattle calls". )


But yes, I'm sure someone once put it: "would you choose a painter to paint your entire house based on comparing a group of painters' work of a window sill?"

Mastering is within context of the bigger picture/release.

And of course, by far, most of the time put into mastering a sample track is in the listening & set up, not the 1 min or whatever final run through/capture/bounce.

As mentioned, a working relationship, based on service and understanding, is really what most people are after.

hi, well to me the relationship and work ethic are not even mentioned because they are a MUST.
At the end f the day what matters is the result. My clients don't care if I have a great realtionship with the mastering engineer I work with. They want a GREAT master and that is something that can only be heard when mastering a track. not thru nice emails or friendly phone calls. Of course the realtionship has to be good and the experience as pleasing as possible but with nowdays competition you should be able to provide both as a ME. a great experience and a great master as well. Clients shouldn't have to pick one first over the other

[Edward_Vinatea]

OK Mickael,
It's alright to be frank and upfront about what you expect from someone that you'll probably give a lot of business. Even demanding, why not.
I have made you a sample. I like this song "Paparazzi" and I think is got commercial potential. Having said that, I have a few suggestions to improve the bottom end. If you listen to the bass drum(s), the one at the chorus sounds either a bit too compressed or with a bit too much decay. When you listen to the intro, the bass drum sounds a bit compressed but good, however at the chorus, it loses its punch. It could be the result of bass drum decay too long; the pattern has quick fill in notes before the beginning of every measure {or pick up notes} right? That could be the problem. Shortening the decay on those notes only, will reduce the muddiness that you hear on the chorus. It may also give it more punch, but I do feel the bass drum at that section should be raised by 3/4 of dB {+0.75dB}. Other than that, without too much analysis, I think your mix is pretty good for that style of music.

Let me know what you think of this sample. And, sorry I have to do mp3 because 2 minutes would be 20MB and the limit is a lot less for attachments. BTW, sorry I misspelled your name on the mp3 file. Regards.

Edit: If you see clipping, it's the result of the conversion to mp3 and there is no clipping on the wav version {see snippet}.

[Ken Paul]

promise of future work is not currency... period.

[Edward_Vinatea]

Originally Posted by Ken Paul

promise of future work is not currency... period.

I am sure Mickael's word is solid platinum!

[mdjice]

Originally Posted by Edward_Vinatea

OK Mickael,
It's alright to be frank and upfront about what you expect from someone that you'll probably give a lot of business. Even demanding, why not.
I have made you a sample. I like this song "Paparazzi" and I think is got commercial potential. Having said that, I have a few suggestions to improve the bottom end. If you listen to the bass drum(s), the one at the chorus sounds either a bit too compressed or with a bit too much decay. When you listen to the intro, the bass drum sounds a bit compressed but good, however at the chorus, it loses its punch. It could be the result of bass drum decay too long; the pattern has quick fill in notes before the beginning of every measure {or pick up notes} right? That could be the problem. Shortening the decay on those notes only, will reduce the muddiness that you hear on the chorus. It may also give it more punch, but I do feel the bass drum at that section should be raised by 3/4 of dB {+0.75dB}. Other than that, without too much analysis, I think your mix is pretty good for that style of music.

Let me know what you think of this sample. And, sorry I have to do mp3 because 2 minutes would be 20MB and the limit is a lot less for attachments. BTW, sorry I misspelled your name on the mp3 file. Regards.

Edit: If you see clipping, it's the result of the conversion to mp3 and there is no clipping on the wav version {see snippet}.

Ed, thank you for the sample, I will listen to it after my sessions today.
As far as the kick goes the lack off punch on the hook my be due to the SSL G comp on the 2 buss which reacts differently on the "busy" hook. I will raise the kick/808 on the hook. Thank you for your input. It's appreciated. Since I produced the song, recorded it, sang the chorus and mixed it so it's always good to have someone giving feedback with fresh ears on the project
as far as projects and future work I can't guarantee anything else then as long as I have work I will need a ME
PS: another engineer in my town is also interested in joining me with a partnership with a ME so it would actually be 2 Studios' work.
Thanks to all for your hard work so far

[Edward_Vinatea]

Look Mickael. Don't worry about it. No commitments here. BTW, In listening again to the mix, I realize that bass drum has a lot of sub sonic info. I would suggest not compressing that drum instrument period, but do roll some of the sub off, raise it in the mix and see how it sits. Otherwise, I wouldn't use that type of kick and change it for one with more fundamentals at 100-130Hz, heavy and punchy. Remember, the whole bottom end depends on that kick you selected, when you hear the song on systems that have poor bass response and no sub woofers, the track sounds kinda thin and bright. My 2 pence.

[mdjice]

Originally Posted by Edward_Vinatea

Look Mickael. Don't worry about it. No commitments here. BTW, In listening again to the mix, I realize that bass drum has a lot of sub sonic info. I would suggest not compressing that drum instrument period, but do roll some of the sub off, raise it in the mix and see how it sits. Otherwise, I wouldn't use that type of kick and change it for one with more fundamentals at 100-130Hz, heavy and punchy. Remember, the whole bottom end depends on that kick you selected, when you hear the song on systems that have poor bass response and no sub woofers, the track sounds kinda thin and bright. My 2 pence.

Ed, thank you for opinion.
The kick is actually a 808 and most if not all of the frequencies lay in the sub area which is what this kind of music/ sing require for example the song cyclone, or flo.rida in the ayer. Basicaly any hip hop song with a "dirty south" feel to it. It's a club song the low end has to be pretty BIG.
Actualy I did not compress the sub kick (except lightly with a SSL G comp on the 2 bus. I then doubled the kick track and eq and compressed that one a LOT to get only the knock .

[Adam Dempsey]

Originally Posted by mdjice

hi, well to me the relationship and work ethic are not even mentioned because they are a MUST.
At the end f the day what matters is the result. My clients don't care if I have a great realtionship with the mastering engineer I work with. They want a GREAT master and that is something that can only be heard when mastering a track. not thru nice emails or friendly phone calls. Of course the realtionship has to be good and the experience as pleasing as possible but with nowdays competition you should be able to provide both as a ME. a great experience and a great master as well. Clients shouldn't have to pick one first over the other

Of course not. Wanting (needing) great results is a given.

[DesertDawg]

OK, here's what I'd do... I like the mix, BTW... nice work! Listen with some subs if you can... it's a hi-rez mp3, and so I think it'll translate better that way - considering the genre, and what I did to it. It's basically taking what you've already got & giving it a little more PMRS, a little more depth, and a little more presence... if you think all else is cool, but that it could use a little more center-channel, that could really very easily be adjusted, too. I'm frankly a bit ambivilent about that particular aspect at this stage - maybe it could, maybe it couldn't... could go either way in my book, and I'm not sure exactly what you'd be looking for in this regard, Ja know???. Let me know if you're interested in this approach... or feel free to slag it publicly if it's not what you're looking for. lol

[Edward_Vinatea]

Originally Posted by mdjice

Ed, thank you for opinion.
The kick is actually a 808 and most if not all of the frequencies lay in the sub area which is what this kind of music/ sing require for example the song cyclone, or flo.rida in the ayer. Basicaly any hip hop song with a "dirty south" feel to it. It's a club song the low end has to be pretty BIG.
Actualy I did not compress the sub kick (except lightly with a SSL G comp on the 2 bus. I then doubled the kick track and eq and compressed that one a LOT to get only the knock .

That's great Mickael, let's say that I am familiar with this kind of music since I am a New Yorker . BTW, I have spinned hip hop records at the Palladium's "Engine Room" as a guest DJ a few times and produced some underground records so I am familiar with this genre. Your mix is a very nice song but some of the hommies here will argue that it is not hip hop. Please realize that I am trying to help here not criticize your work. There are sub sonic frequency problems with that Roland 808. The mix can't sound loud enough and punchy enough unless that is addressed. I have attempted to master your mix and I am not satisfied with the outcome. The answer is on your end. By-pass that compressor at the 2-buss, mute that double (if you love that texture too much then by-pass that eq and roll off some bass). Also, tone the 808's pitch down so its fundamental matches your songs's musical key - and finally, use a HF filter at your discretion and re-upload. You'll see.

Regards,

[mdjice]

Originally Posted by Edward_Vinatea

That's great Mickael, let's say that I am familiar with this kinda of music since I am a New Yorker . BTW, I have spinned hip hop records at the Palladium's "Engine Room" as a guest DJ a few times and produced some underground records so I am familiar with this genre. Your mix is a very nice song but some of the hommies here will argue that it is not hip hop. Please realize that I am trying to help here not criticize your work. There are sub sonic frequency problems with that Roland 808. The mix can't sound loud enough and punchy enough unless that is addressed. I have attempted to master your mix and I am not satisfied with the outcome. The answer is on your end. By-pass that compressor at the 2-buss, mute that double (if you love that texture too much then by-pass that eq and roll off some bass). Also, tune the 808's pitch down so its fundamental matches your songs's musical key - and finally, use a HF filter at your discretion and re-upload. You'll see.

Regards,

Ed, I agree 100% with you as it's not REAL hip Hop...how ever it's Sooo 2009 and in the end that's what pays for the fancy gear
I as far as the mix. I mixed INTO the SSL comp so Taking it off at this stage would change the enitre color and sonic balance of the mix,
If I bypass the double ( i guess you mean the heavily compressed and eq one in parallele ?) THEN the 808 will have absolutly nothing to show for on small speakers.
About the 808 it's a ctaully my real 808 where you cannot Tune on the machine I wil try tuning it in PT so see how it sounds. at this point I can't do much to the mix or production as the artist and manager came to town to the studio to work o this project and I followed what they wanted. They also approved the mix.
I however really apreciate your feedback and I'm always open to suggestion so I will try a couple a couple of changes. thank you.
On another note I received a Mastering where the ME was able to make that 808 Knock like no other , so it is possible

[Edward_Vinatea]

Originally Posted by mdjice

Ed, I agree 100% with you as it's not REAL hip Hop...how ever it's Sooo 2009 and in the end that's what pays for the fancy gear
I as far as the mix. I mixed INTO the SSL comp so Taking it off at this stage would change the enitre color and sonic balance of the mix,
If I bypass the double ( i guess you mean the heavily compressed and eq one in parallele ?) THEN the 808 will have absolutly nothing to show for on small speakers.
About the 808 it's a ctaully my real 808 where you cannot Tune on the machine I wil try tuning it in PT so see how it sounds. at this point I can't do much to the mix or production as the artist and manager came to town to the studio to work o this project and I followed what they wanted. They also approved the mix.
I however really apreciate your feedback and I'm always open to suggestion so I will try a couple a couple of changes. thank you.
On another note I received a Mastering where the ME was able to make that 808 Knock like no other , so it is possible

I am happy for you Mickael. Can you please upload a little clip of that ME's work who made "that 808 Knock like no other". BTW, last I time I checked, the TR-808 was very tunable with its tunning knob

EDIT: You also said

If I bypass the double ( i guess you mean the heavily compressed and eq one in parallele ?) ..."THEN the 808 will have absolutly nothing to show for on small speakers."

That's not true. An 808 bass drum without eq but with gentle compression and at the right level in the mix can and will "knock" like nothing on the bottom end. Just so you know.

[mdjice]

Originally Posted by Edward_Vinatea

I am happy for you Mickael. Can you please upload a little clip of that ME's work who made "that 808 Knock like no other". BTW, last I time I checked, the TR-808 was very tunable with its tunning knob

EDIT: You also said That's not true. An 808 bass drum without eq but with gentle compression and at the right level in the mix can and will "knock" like nothing on the bottom end. Just so you know.

Actually the person who made it sound great is NOT a ME he is a producer/mix engineer friend of mine who just gave it a shot. As I said he is NOT an ME so he doesn't do all the "other" stuff MEs do like volume matching between album tracks, songs taggs etc... plus he has his own work keeping him very busy.

about the 808 ....TRUST ME I HAVE ONE!!!!
it has a Tone Knob and a Decay Knob for the bass drum NOT a tuning Knob. only the Toms have a tuning knob on the 808

and no a 808 with one single Long decay kick drum doesn't do much on small speakers if it's not double with another "snap" kick, trust me I've been using a real 808 for as long as I can remember

[mdjice]

I wanted to thank all of you guys for the hard work and for all the submission. I have received more then expected and I'm not looking for more.I have to admit that I'm impressed... all of you guys are goooood!!!thumbsup now it's more on my end to see which ME works better with MY mixes and my clients style of music. It's very difficult as so many are so freaking awsome!!
thanks again to all of you guys !!! the GS community is the SHHHHH

[Edward_Vinatea]

Originally Posted by mdjice

Actually the person who made it sound great is NOT a ME he is a producer/mix engineer friend of mine who just gave it a shot.

Originally Posted by mdjice

I wanted to thank all of you guys for the hard work and for all the submission. I have received more then expected and I'm not looking for more.I have to admit that I'm impressed... all of you guys are goooood!!!thumbsup

First, Mickael, these 2 statements are somewhat of a contradiction to us. You are saying that even though you are impressed because we are goooood, someone who is not a ME made it sound greater than all the GS ME's? I think I can speak for all of us here, we'd like to hear a clip of that great sample. We are all here to learn, you know?

Second, don't you know what the "Tone" knob does? You should know that you can change the bass drum pitch and tune it to the key of the song. Whether Roland called it tune for toms and tone for bass drum is irrelevant.

Third, the very first hip hop records and many in today's dance music including the genre of Drum&Bass - use 808 bass drum loops without any doubling. It's just a fact and you can find the evidence on many CDs (You want me to upload a sample to prove it?). Do they all use just one bass drum? Certainly not, but that's not the point.

about the 808 ....TRUST ME I HAVE ONE!!!! a 808 with one single Long decay kick drum doesn't do much on small speakers if it's not double with another "snap" kick, trust me I've been using a real 808 for as long as I can remember

I owned a used one in the 80's, then sold it. I never said that you should use a long decay kick drum as the sole element at the bottom end did I? Then yes, you'll need another one with the right fundamentals and punch at around 100-120 to get what a mix needs. But that wasn't my point. I said one 808 kick drum can stand alone as the bottom end and as long as is at the right level.

Again Mickael, upload that great clip so that we can learn this important lesson in "2009 music" mastering, I am serious. If you don't, I think some people may perceive this thread very differently.

Regards,