A mastering engineer will apply their wealth of listening experience and knowledge of digital and analog signal processing to optimise a recording or set of recordings in preparation for distribution — including, streaming, vinyl, cassette, and CD.

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There are a number of factors that may affect the cost of a project, the biggest being the duration of the audio in the project and number of tracks. Additionally, turnaround times, where very quick turnarounds may incur a premium.

At ENCODER Sound we quote on a per project basis. By individually quoting we can save you money where possible and still provide an outstanding master for the money!

Where you might look to save a little money in mastering is through booking larger projects, such as an album or EP. We may be able to provide a discount for larger song quantities, reducing your per-song mastering cost.

Yes, if you want your music to sound its best wherever it’s played, mastering is essential. Even professional artists, producers, and mix engineers send their work to a mastering engineer before release.

Mastering is the final stage of audio production, where an experienced engineer listens critically, and using technical expertise applies precise adjustments to make sure your music translates well across all playback systems — from high-end speakers to earbuds and car stereos, via streaming, vinyl, CD, cassette, or other.

Working with a great mastering engineer helps you finish up your audio project and release it to the world with confidence.

Yes. Mastering is the final stage of music production. The files delivered to you by the mastering engineer can be uploaded to a streaming aggregator (like, Distrokid or GYROstream) to be passed on to the streaming platforms (Apple Music, Tidal, etc.). Or, sent to physical format manufacture for CD, vinyl, cassette, etc.

I provide information with all master file sets so you'll know what goes where.

To get the best results from mastering, it’s important to deliver a final mix that you really love, and feel is finished. Here are some key considerations:

• Headroom – Make sure your audio file is not clipping. The actual peak level is not a concern as the mastering engineer will often adjust this level as part of their process. However if negative affects of clipping are baked into the final mix this can be very hard to alleviate. All that being said, sometimes a mixer might use clipping or similar techniques for a certain sonic result, and that’s all good, go for it.
• Export at full resolution – Provide your mix as a WAV or AIFF file at the original sample rate and at least the original bit depth (e.g. 24-bit / 44.1–96kHz). You can also supply 32-bit float files, which provide a bit of safety in terms of headroom.
• Check for unwanted noises – Listen carefully to your final bounces for pops, clicks, hums, or other artifacts. These can be removed a the mastering stage, but it’s way better to get it sorted in the mix.
• Label your files clearly – At ENCODER Sound I prefer ARTIST_RELEASE_TRACKNo_SONGTITLE
• Mix bus processing — People often worry about whether to include mix bus processing in there final mix bounce. I say, send me your mix the way you like to hear it, so leave mixbus processing in if you like it that way. The only caveat is if you have a limiter on the mixbus just for level (maybe you were A/Bing with some already mastered tracks, for example). In this case, send us both, a limited mix, and a unlimited mix. I’ll listen and we can discuss which version is going to get us the best result.

Yes. I master music with streaming platforms in mind — including Spotify, Apple Music, Tidal, YouTube Music, Amazon Music, and others. I aim to create one master file that will work on all platforms, and this file is sent to your aggregator who then pass it to the streamers.

Each service applies its own loudness normalisation and uses different file formats and bitrates, when playing to their subscribers. With a well considered master there is no need to worry about these differences, playback will be optimal on all platforms.

If you also plan to release your music on vinyl, CD, and/or cassette, I can create separate masters optimised for those formats.

Yes. I can create masters specifically tailored for vinyl, cassette, and CD to ensure they sound their best on each format. Each medium has unique technical considerations — for example, vinyl benefits from careful attention to density, tonal balance and transients, while cassettes require attention to noise levels and dynamic range, and CD masters can take advantage of the full digital resolution available.

If you’re releasing across multiple formats, I can prepare separate, optimised masters so your music translates beautifully whether it’s spun on a turntable, played on a cassette deck, loaded into a CD player, or streamed.

After mastering, I’ll deliver the files you need for your intended release format. For digital distribution (Spotify, Apple Music, Bandcamp, etc.), you’ll typically receive full-resolution WAV files (24-bit, native sample rate). I also include a CD-quality master (16-bit, 44.1kHz), which some streaming aggregators prefer. I also provide high bitrate MP3s which are handy for sharing with friends or reviewers, but not for streaming upload.

For physical formats:

• Vinyl: full-resolution, side-length WAV files prepared specifically for vinyl cutting, with accompanying PQ sheet, ready to be sent to the cutting engineer.
• CD: 16-bit/44.1 kHz WAV files in a DDP image ready for duplication.
• Cassette: full-resolution, side-length WAV files prepared specifically for cassette, with accompanying PQ sheet.

If you have a specific platform, format, or technical requirement, just let me know — I’ll make sure you receive the correct master files.

For the majority of projects I work remotely. We can communicate via email, phone, or video call to discuss the artistic direction, I send through the masters, and then we discuss again. We can roll through this sequence until we’re satisfied.

If you’re in or near Boorloo/Perth, you’re welcome to attend the mastering session in person — it can be a great way to hear your music in a dedicated listening environment and discuss creative decisions. However, some of the mastering process can be tedious and not particularly creative. So, I prefer artists send their final mixes ahead of time, which allows me time to do the required preparatory work (setting up the sessions, removing pops and clicks, getting a general level and balance going) before the attended session.

Turnaround time depends on the size and complexity of your project, but most single tracks are mastered within 2–3 business days. EPs and albums usually take between 5–10 business days, allowing time for detailed listening, sequencing, and any revisions you might request.

If you have a specific deadline — for example, a release date or pressing schedule — let me know in advance. The sooner I know your deadline, the easier it will be to fit it in to my schedule and return your masters with a comfortable buffer.

I would also advise scheduling a nice buffer between mastering and release date — at least a week. This gives a bit of breathing space for the creative team to listen deeply and be certain about the final masters, and some wiggle room if a mix revision or similar is required.

Yes. Mastering is a collaborative process, and your satisfaction is essential. During the process we discuss and iterate until you’re happy. I encourage artists to provide detailed feedback after their first listen so we can fine-tune any elements you’d like changed — whether it’s tonal balance, loudness, or track sequencing.

(free revisions are capped at 3-months from first master delivery, revisions after this may incur a fee)

Yes. While most mastering is done from a single stereo mix, I also offer stem mastering when it’s the right fit for the project. Stem mastering involves working from grouped stems (e.g., vocals, drums, bass, instruments) rather than a single stereo file, giving me more flexibility to address mix balance issues and enhance individual elements before finalising the master.

Stem mastering can be especially helpful if you’re not completely satisfied with your final mix, or if you want extra polish without going back to full mix revisions. If you’re interested, contact me to discuss the format and preparation of your stems.

Whilst my passion is for alternative, independent, and experimental music, I’m really excited about music that is created with focus and intent by the artist. My experience spans everything from delicate acoustic recordings through to dense, textural soundscapes, all the way to straight ahead pop.

Though my particular interest is in projects that push creative and sonic boundaries I think I have expertise to offer most, if not all, sound-based art. The core principles of good mastering apply to all sound, and I’m always open to discussing projects outside my usual sphere if I feel I can serve the music well.

Before mastering begins, I’ll ask for a few key details to ensure the best results:

• Final mixes in the full resolution WAV or AIFF files, (24-bit, or 32-bit float, native sample rate).
• Project details such as track titles, running order, and any fades or spacing preferences.
• Reference tracks if you have specific sonic goals or influences in mind. This can help shape the conversation.
• Release format (streaming, vinyl, CD, cassette) so I can prepare the correct master files.
• Any notes or concerns from the mix stage — for example, elements you’re unsure about or specific things you’d like me to focus on.

The more context you can provide, the better I can preserve the intention of your music while preparing it for release. Sometimes artists send a lot of notes and we discuss at length, sometimes artist say “you do your thing!” I’m comfortable with either scenario, or somewhere in between.

Mixing is the process of combining individual recorded tracks — such as vocals, drums, guitars, and synths—into a complete stereo mix.

Mastering takes that finished stereo mix and applies subtle enhancements — EQ, compression, limiting, and more — to make it sound balanced, polished, and consistent across all playback systems. Mastering also prepares your track for distribution, ensuring it meets industry loudness and technical standards.

Yes. ENCODER Sound is approved for Apple Digital Masters (ADM). Artists and labels who master with us — and distribute via a compatible aggregator — can display the Apple Digital Masters badge on Apple Music and iTunes. This ensures your music is encoded to Apple’s highest quality standard.

Read more about Apple Digital Masters →

We use industry-leading monitoring, conversion, and processing gear to ensure pristine sound quality. Our combination of precision tools and experienced ears ensures every master meets the highest professional standard. Brands include:

• Monitors & Headphones: Adam Audio, Audeze, Sennheiser, Campfire Audio
• Conversion & Processing: Lynx Studio Technology, EGM Audio, Trinnov, Primacoustic
• Software & Plugins: FabFilter, iZotope, Sonnox, Soundtheory, Tone Projects

We specialise exclusively in mastering. While we don’t offer mixing as a primary service, we can connect you with trusted, specialist mixing engineers who suit your style. Once your mix is ready, we’ll master it to perfection.

We’re set up for mastering, not recording. For recording sessions, we recommend friends in Perth, or abroad. Just ask and I can refer you to someone great.

• Listen to albums you love and find out who mastered them.
• Shortlist the mastering engineers whose work resonates with you.
• Check their portfolios and contact them for a conversation.
• A good mastering engineer will have a high-quality portfolio, communicate clearly, and understand your creative vision.

There’s no single “best” — mastering is part technical, part art. Many top engineers have made their mark through landmark albums, innovation, or long careers. The right engineer for you is the one who understands your sound and delivers results you love.

Two types exist:

• AI/Software-based mastering – Platforms like LANDR or Cloudbounce analyse your track and generate a master instantly. These services are quick and cheap, but limited in creative nuance.
• Human online mastering – You send your mix to a real mastering engineer who applies expert judgment and bespoke processing.

At ENCODER Sound, all mastering is done by Dan O’Connor—a human with years of experience, not an algorithm.

AI platforms like Cloudbounce, LANDR, BandLab, and eMastered are fast and affordable. However, for music you truly care about, hiring a human mastering engineer will deliver results tailored to your vision.

AI mastering can be decent for demos or crazy quick turnarounds (like 5 minutes). For professional releases, human mastering is the way to go.