ZenMastering is founded on
three basic principles...
- Specialists are more effective at a specific task than generalists.
- Analog processing is superior (technically and euphonically) to digital.
- Experience is as important as any piece of equipment in a signal chain.
recording has moved from the traditional recording studio to the home
computer environment, specialists (tracking engineers, mix engineers,
mastering engineers) have been replaced by one person with an arsenal of
software and plugins. Simply put, a generalist. This is one of the key
reasons why recording quality has declined over the years while
equipment continues to have better technical specs. Hiring a
professional mastering engineer (a specialist, who only does mastering)
brings expertise and sonic quality to your recording that is absent in
many indie projects.
While digital tools are effective and powerful, ultimately their popularity has been driven by affordability and efficiency, not ultimate quality. In reality, the digital domain is a simulation of the analog domain. ZenMastering's signal path is 100% analog, delivering the highest fidelity. Our process may take a little longer, but our results speak for themselves.
Any piece of gear is only as useful as the person operating it. With over 15 years of mastering and more than 700 projects under our belt, we bring experience to the table at a critical point in the recording process.
Published Articles and Reviews
Anatomy of a M.E.
A good mastering engineer is equal parts audiophile, technologist, objective critic, musician/music lover, and psychologist rolled into one person.
The most successful M.E.s are the those who juggle the above elements evenly. In addition...
• They have top-notch gear, but realize that it's only as good as the person using it...and their level of detail while working.
• They are engaged in the music they're mastering, while keeping a third-party perspective to realize when a mix could be better (or know when it's so good that it doesn't need much tweaking).
• They listen to the artist openly and honestly about what he or she wants to achieve with the final recording.
This is the "anything else/ everything else" that Paul brings the table.