I start by listening to your music and asking myself, “What makes this piece special?” And also, “How can a wide, full, and loud master be achieved while staying true to the artist’s vision?”

After listening to your music and references, I sculpt the sound with some of the best mastering hardware available.

Even though plugins have come a long way, analogue hardware imparts a richness and depth that algorithms can’t replicate yet. My mastering chain weighs more than fifty pounds—that’s a lot of tubes, transformers, and circuitry. They work together to create magic.

My chain begins with Lynx Aurora (n) converters, which are famous for pristine, transparent conversion.

Next comes the Neve Master Bus Transformer. Its Super Silk circuit creates harmonics that add top-end sheen and low-end weight. It also excels at widening the stereo image and gently controlling dynamics with its optical compressor and zener diode limiter.

Then, the signal hits the Manley Massive Passive EQ. This monster of tubes and transformers makes a track sound better just by turning it on. From there, subtle adjustments are often enough to balance a track. But this EQ can be pushed to extremes without stirring up harshness or artifacts.

Finally, the music reaches the Manley Variable Mu. There’s a reason why this unit can be found in most high-end mixing and mastering studios. It’s simply a magic box. Its gentle, warm compression soothes harshness, brings out subtle details, adds punch and snap to transients, and glues the track together in a most musical way. Manley estimates that the majority of professionally mastered music worldwide has passed through a Variable Mu.

After hardware has done the heavy lifting, I use a handful of premium plugins to finish the process.