Mastering
Dimension, colour and depth that translate everywhere.
Your music deserves the clarity and commercial impact that commands attention on any system, from a phone on shuffle to a festival main stage. Every master is built to compete with the biggest releases in the genre without sanding off what makes it yours, and it is club-ready by default, not as an afterthought.
Not A Preset.
Loud is easy. Loud and alive is the job.
Anyone can push a limiter until the meter says the right number. The work is getting there while the kick still moves air and the top end still has somewhere to go.
What Actually
Happens
A master is not a preset chain and a loudness target. Here is the pass your track goes through.
Assess The Mix
Before anything is applied I check headroom, phase, mono compatibility and low-end behaviour. If something is wrong at the mix stage I tell you rather than paper over it. A master cannot fix a fight between the kick and the bass, and pretending otherwise wastes your money.
Honest first passTonal Balance
Broad, musical EQ moves against your references and against what the genre actually sounds like on a real system. Small decisions here are what make a record sit next to the tracks it will be played beside.
BetterMaker EQDynamics & Density
Bus compression for glue and forward motion. The goal is a track that feels bigger, not a track that measures bigger. Transients stay intact so the kick still hits at volume.
Bus compressorStereo & Low End
Imaging widened where it helps and tightened where it matters. Sub kept mono and controlled, so the record survives a club rig, a vinyl cut and a phone speaker without three different versions.
TranslationLoudness & Limiting
Competitive level set against your reference, with true-peak headroom left for lossy encoding so streaming platforms do not mangle it. Beatport, Spotify and a club system all want slightly different things. That is handled, not guessed.
BetterMaker limiterDelivery & Formats
Master WAV at source resolution, a 16-bit/44.1 for distribution, an MP3 reference, and dedicated cuts for vinyl or DJ pools if you need them. Named properly, metadata intact, ready to upload.
Ready to shipIf the kick doesn’t move air at two in the morning, it isn’t finished.
the test
Built For
The Room
Every master gets checked against a real club system before it ships, because that is where techno either works or it doesn’t.
What It
Costs
Rush turnaround available. EPs and albums quoted as a package.
- Format
- 24-bit WAV or AIFF. Never an MP3, never a bounce off a streaming platform.
- Sample rate
- Whatever your session runs at. Do not convert, do not dither.
- Peak Level
- Peaks between −6 dB and −3 dB. That is the sweet spot.
- Master bus
- Limiter off. If the mix only works with the limiter on, the mix is not finished. Tell me and we will sort it.
- Length
- Include the full intro and tail. Do not trim the fade.
- Stems
- For a stem master: 8–10 stems, same start point, no master processing.
- Also send
- 1–2 reference tracks for the loudness and tone you are after, and where it is being released.
Not sure about your headroom? Send it anyway. I will check it and tell you in plain language whether to re-export, before any money changes hands.
Start A
Project →
Send the mixdown with headroom and a reference. If the mix needs work first, you will hear that before any money changes hands.