What good is the best song, the supposedly next big hit, or the most expensive production, if the master does not sound and translate right or is not loud enough and therefore not competitive?
If you want to compete in the music market, professional mastering is a must. If you look at the charts, you'll hardly find a song that hasn't been professionally mixed or mastered.
Mastering is also the final instance of quality control before a song gets out to the world.
Like a second pair of ears in an acoustically treatedl room with a monitor system that immediately reveals any problem.
In addition to the creative aspect, the sound of a song also determines success or non-success.
It is about presenting yourself as a professional artist in the best possible way on all music platforms (such as Spotify, Apple Music, YouTube) and listening situations (such as clubs, festivals, living rooms, kitchen radios, earbuds or smartphones).
It's all about translating the sound to different systems and in different environments.
A punchy low end without booming muddiness, beautiful mids and a clear top end (air) without unpleasant harshness is key. Punch and emotions needs to be conveyed correctly in order to offer a positive listening experience that will be remembered fondly.
The mastering process of a dance title differs significantly from a conventional mastering workflow.
In this segment, even some professionals like to work up a sweat.
The interaction between kick and bass, the so-called low end, is a science in itself.
Musical, as well as technical, trends are constantly changing and anyone who is not familiar with this will hardly achieve a result that translate well at major festivals, earbuds, or in streaming in such a way that the intended emotions and the desired punch are conveyed.
Mastering is always the last and crucial step in music production.
A very complex field in which only tools and processors of the highest quality are used and which, in addition to the technical part, also requires a lot of experience and empathy.
It is exactly these requirements that Matthias Menck brings to the table as a longtime Dipl. Audio Engineer and music producer.
As an active producer & DJ for decades, there is hardly a more experienced audio & mastering engineer who has dealed with the electronic genres in all their facets and varieties.
Whether House, Deep House, Tech House, Bass & Future House, Tropical, Electro, Techno, EDM, Trance, Goa, Trap, Future Bass, Dance Pop, Hip Hop, RnB or even Ambient & Lounge music, Menck knows what it has to sound like and what needs to be done to achieve that.
Multiple gold and platinum awards, as well as international chart positions including the US Billboard charts, speak for themselves.
We work HYBRID (Analog & Digital)
On the analog side we are working with mastering processors from Maselec, Bettermaker, Solid State Logic /SSL, Rupert Neve, SPL, Thermionic Culture, WES Audio, Custom Audio Germany, Universal Audio and AD/DA-converters from Dangerous Music, Apogee & RME.
Each master is created individually and is NOT just processed through a preset template
If you want to level up your production to a competitive industry standard, don't hesitate to get in touch. We can also help preparing your stems for mastering or providing feedback on your production.
Just hit us up, we are always happy to help !
REFERENCES:
Universal Music / Warner Music / Sony Music / Edel Records /Ministry Of Sound / Kontor Records / Toolroom Records /
Sirup Music /1st Strike Records /Embassy Of Music / Tiger Records / Pinkstar Records / WePlay Music / Tonspiel /Pyro Records / RUN DBN /Housesession Records / Ego Records /Ibiza Global Radio / Time / Rise / Scorpio Music / Central Station / Defenitive /Blanco Y Negro / Egoiste / Houseworx / Kingdome Kome / D-Tracks /Interlabel / Group +39 / Wormland Gold / Groovejet /Protocol / Mehr Musik / Pervert Records /Paradox ...