Audio Production:
Mastering
Mixing
Recording
Repair & Restoration

About

About image
I am an audio engineer and musician based in Navan, Co Meath, Ireland.
I graduated from Maynooth University in 2015 with a first class Masters Degree in Creative Music Technologies where I studied Acoustics & Psychoacoustics, Sound synthesis, Recording techniques, Electroacoustic composition, Interactive systems & Signal Processing. My final dissertation was in Electroacoustic Composition.

In 2020 I studied Audio Mastering Techniques at Berklee College of Music tutored by renowned Mastering Engineer, Marc-Dieter Einstmann of Einstmann Mastering.

I specialise in Digital Audio Mastering for Digital distribution, CD and Vinyl Production and Film/TV productions.

I also provide recording & mixing facilities in my home studio (suitable for solo musicians) and mobile recording (suitable for recording drums, piano, live ensemble, choir etc on location).

I write and record my own music which largely revolves around guitar and I also compose electroacoustic soundscapes both suitable for audio visual content or as stand alone music.

For mixing, mastering & post production, you are welcome to sit in on sessions OR send me your files and I will work on them remotely.

I use state of the art software for recording, mixing, mastering, restoration and noise removal, from Universal Audio, Izotope, Plugin Alliance, Soundtoys etc (See Below for more details)

I have worked with Artists such as Jam Hades, Vickers Vimy, David Dee Moore, Thespian Three, The Vinyl Fridays and filmmaker Siun O'Connor.





SERVICES

Mastering

Quality control, enhancement and preparation of your audio for release into the world on all formats.

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Film Audio Post Production

Mastering of film audio mix.

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Audio Restoration & Repair

Unwanted noise removal and restoration of problematic audio

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Recording, Mixing & Production

Recording, mixing (or remixing) and general production of your music.

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MY studio tools

MY studio tools imageMY studio tools imageMY studio tools image
All processing performed digitally using only the very best software from Izotope, Universal Audio and Plugin Alliance. (What's listed below are my main go to processors, but I do have access to many more production tools if required)

  • Monitoring:Genelec 8040 monitors
Shure SRH1840 Professional headphones
Audio Technica M50 headphones.

  • Hardware: Universal Audio Apollo 8p thunderbolt
Universal Audio UAD-2 Satellite TB3 Octo



  • Digital Processing Mastering Software:
Izotope:
Ozone Advanced 9 & RX9

Avid: 
Protools 2018

Universal Audio: 
EQs: Manley Massive Passive, Pultec Passive EQ Collection, Dangerous Bax EQ.
Compressors: Shadow Hills Mastering Compressor, Manley Variable Mu, SSL 4000 G Bus Compressor,  Fairchild tube limiter collection.
Other: Sonnox Oxford Inflator, Ampex ATR-102 Mastering tape recorder,, Brainworks bx_masterdesk, Precision Enhancer, Thermionic Culture Vulture.

Plugin Alliance:
Shadow Hills Mastering Compressor Class A, Unfiltered Audio Bass mint, Black Box Analog Design HG-2MS, Brainworx Bx Refinement, Brainworx BX Pan EQ.


  • Loudness & Dynamics Metering
Izotope: 
Insight, Total Balance Control

Plugin Alliance:
SPL Hawkeye, ADPTR Audio Streamliner, ADPTR Metric A/B


  • Codec Conversion:
Sonnox: 
Codec Toollbox

  • Other Recording/Mixing/Post Production Software:
Universal Audio: 
Lexicon 480L reverb, Capitol Chambers reverb, Ocean Way Studios Reverb, SSL 4000E Channel Strip, EP-34 Tape Echo, Galaxy Tape Echo, Korg SDD 3000 Delay, A/DA STD-1 Stereo Tapped Delay, Neve Preamp, Little Labs voice of God Bass resonance, Teletronix LA-2A compressor Collection, 1176 Classic Limiter Collection, Manley Voxbox, Manley Tube Preamp, Studer.A800 Tape Recorder , Antares Autotune, Cambridge EQ, Neve Dynamics Collection

Guitar & Bass: Sound Machine Woodworks, Friedman Buxom Betty, Ampeg B-15N, Brigade Chorus Pedal, Chandler Limited GAV19T Amplifier, MXR Flanger Doubler, Suhr PT100 Amplifier, Fuchs Overdrive Supreme 50 Amplifier.

Plugin Alliance: 
Dear Reality dearVR MUSIC, Brainworx bx_panEQ

Fab Filter: 
Fab Filter Pro-Q 3

Previous projects

  • Thespian Three- A Book Of Deeds: Recording &Mastering

  • Vickers Vimy- Atlas Of Hearts: Recording & Editing

  • Siun O'Connor Documentary- Hollow Lane: Audio Post Production, Mixing &Music composition

  • David Dee Moore Feat. Vickers Vimy- Leave Your Light On: Recording & Editing

  • Vickers Vimy- Where The Wildbirds Sleep: Recording & Editing

  • The Vinyl Fridays- Only You: Recording, Production, Mixing & Mastering

  • Irreverence Short film by Siun O'Connor. Soundtrack music recording, mixing and mastering

  • Jam Hades- Edge Of Regret, Album Mastering, Digital & Vinyl

contact

  • Navan, Co. Meath, Ireland
  • C15WCY2

If you would like a quote or any more information please contact me here.

faq

Why get your tracks mastered?

The job of a mastering engineer is to try connect the listener to the artist.
Mastering is the last step in the production line before the music is released into the world and it primarily involves preparing and optimising mixes for release onto the many different platforms/formats in todays music consumption world, so that it sparkles in the best possible way for the listener.
Mastering ensures the correct balance is achieved in terms of tone, dynamics, stereo imaging and loudness . In terms of an album or collection of works, it ensures consistency in these elements from one piece to the next so that it flows seamlessly for the listener.
It also involves quality control, ie fixing any existing problems with the audio and also anticipation and prevention of any potential problems that might occur with the various streaming platforms and broadcast etc, which is essential these days as there are many different specifications for different platforms.

Automated Online Mastering Services Vs Human Mastering in Studio

In an automated online mastering system, in general a track is uploaded to a website and comes back altered or 'mastered' matching the specifications determined by the designer of the system. Generally these systems make level and tonal adjustments to the track. What comes back may be of value to you but also the machine may not have the best possible answer.

The process is certainly not a bespoke version of mastering. The automated system won't make any creative decisions about dynamics, tonal balance or the feeling of a track, unlike an engineer in a studio.

Also because of the 'one size fits all' approach of automated systems, the dynamic impact of a song might be removed as it seeks to level a track in its entirety and not 'think' about the best approach for maximising dynamic impact from quiet parts to loud parts of a track, or indeed maintaining a dynamic consistency between a sequence of tracks on an album. So the dynamic contrast that was part of the artistic vision for the track might be somewhat lost.

Music is creative and there is still definite demarkation between between automated systems and creative decisions and the context they are made in.

Submitting files for mastering?

Format: I only work on Digital files.
Digital audio files should be submitted at resolution used during production.
Sample rates: 44.1KHz - 192KHz (although anything above 96KHz is unnecessary)
Bit Depths: Highest bit depths are preferable. ie 24 bit or 32 bit floating point

Do not submit data reduced files such as MP3 or AAC for mastering.

Headroom & Mix buss processing:
Leave some headroom in the final mixes. At least 3dB is desirable.
Also it is preferable if no (or very little) Mix buss processing as compression and limiting can't be undone.
If the track(s) are mixed to mix buss processors then it is preferable to get two versions of each track. One with the processing and one without.

Different approaches for Recording, Production, Mixing, Mastering ?

I can take on projects where I am involved every step of the way from pre-production to final mastering.

While all of these stages require a slightly different approach and way of thinking, I can also always see the big picture and keep this in mind at every step, from creative to technical and everything in between.
However I will treat each stage completely separately and give it the attention it requires with the appropriate approach. For example I will master in a completely different session than the mix, so I won't be tempted to keep tweaking individual elements. When mastering I am only thinking about the overall stereo track.

So while recording and production might lean towards the creative side and mixing and mastering might lean towards the technical side, the final product and intended audience is always at the back of my mind!

Regarding pricing I can offer deals if you hire me to produce your entire project from beginning to end.