Mastering

A professional mastering is the final polish that can make or break a hit. If you want to compete with the leading artists of your scene in terms of loudness, punch and clarity, it’s simply essential. Once your production is finished, it’s important to leave it to somebody with fresh, unbiased ears. Ideally a person who understands the style and aesthetic of your track, and how it should work in different acoustic scenarios. Ideally a person who works in a dedicated mastering room, where the sound is as linear as possible. A home studio has no professional acoustic treatment and therefore is just not the right place for a decent mastering job. Last but not least, analogue mastering equipment is essential to make your track stand out from a world of mainly computer-based production. These three factors provide the basis for Benjamin`s online mastering service.

1. Experienced Mastering Engineer  After more than two decades as a producer/DJ and one decade as a mastering engineer, Benjamin knows how a track should sound to be rich and forceful on any sound system. He is also a lecturer for Audio Mastering at the reowned SAE Institut in Zurich.

2. Dedicated Mastering Room Linear sound is the key when it comes to mastering , it needs to be done in an acoustic environment as neutral as possible. That’s exactly what the studio design by ‘Berlin Accoustic’ provides: An acoustic environment nearly linear, perfect for mastering.

3. Analogue Mastering Gear It makes your song stand out and adds a dimension of sound that can’t be achieved in the digital domain. Tubes, especially triodes, add harmonic overtones that please the human ear and improve the presence of individual sounds. The nonlinearities of transformers increase the density of the sound. The bass sounds richer, high frequencies pleasantly round.

Studio

Linear Sound is the Backbone for any Good Mastering Studio. It’s essential to listen to your production ‘as it is’ in an acoustic environment that does not alternate the sound that comes from the speakers. In other words, the dimensions and the symmetry of any room have a crucial influence on what you hear. That’s why this studio is designed from the scratch by the renowned company ‘Berlin Acoustics’, starting with the floorplan itself. The concept includes a special sound-absorbing ceiling, a precise placement of the walls, as well as custom-made absorber and diffuser modules. This acoustic design is a modern take on the popular LEDE model (Live End Dead End) that was optimized to meet the spacious conditions of the mastering studio and its individual requirements.

Monitoring: ATC SCM50ASL Pro, Dangerous Music Monitor ST
Analogue gear: Chandler Limited Curve Bender, SPL Iron, SPL Hermes, Bettermaker Mastering Compressor, Bettermaker Mastering Limiter 2.0 & Bettermaker EQ 232p MKII
Converter & Interface: Dangerous Music AD+, Dangerous Music Convert 8, Mytek 8×192, RME AIO
DAW & Plugins: Digital AudionetworX PC Workstation, Steinberg Cubase 12, UAD-2 Plugins, Fabfilter Bundle, Soundtoys Bundle, Native Instruments Komplete Ultimate
Analyzer: TC Clarity M, RME Totalyser, Mastering the Mix Levels

About

Find the thing you’re most passionate about and do it as much as possible: That’s been the approach of Benjamin Halfmann since 1999. His international success as a DJ, producer and mastering expert proves that he’s not only passionate about music, but also remarkably good at what he’s doing. It’s the infinite possibilities of Progressive Trance that sparks Benjamin’s creative enthusiasm for electronic grooves. When he starts DJing under the name Audiomatic in 1999 he has no idea that soon he will be an essential part of this relatively new genre himself. Looking back today, three albums, countless single tracks and a busy tour schedule with gigs on 5 continents are the milestones of his career. His intense scene involvement and the experience that came with it inspired Audiomatic eventually to take his creative activity to yet another level: Music mastering.
After hundreds of gigs on hundreds of soundsystems in hundreds of locations, Benjamin has a pretty good idea what a track should sound like – and what not. Together with his long-year experience this makes him as true mastering expert. A custom-build studio with a refined selection of analogue and digital equipment serves as the technological backbone for his mastering service. Since 2011 he’s doing the mastering for most of the releases of the prestigious Progressive Trance label SpinTwist Records, many of these tracks were on heavy rotation all around the world and reached Top 10 or even No. 1 rankings in Beatport’s Psytrance charts – and that’s just one prominent example from his long customer list.

References

Mastered for following artists:

Neelix, Phaxe, Fabio & Moon, Morten Granau, Day.din, Waio, Simon Patterson, Penta, Ghost Rider, Class A, Ranji, Bitmonx, XV Killist, Interactive Noise, Flowjob, Kularis, Vaishiyas, Symphonix, Egorythmia, Krama, Shiva Chandra, Capital Monkey, Sideform, Durs, Materia, Royal Flush, Berg, Klopfgeister, Coming Soon, Twilight, Unseen Dimensions, Alter Nature and many more…

Mastered for following labels:

Armind/Armada, Spin Twist Records, Iboga Records, Blue Tunes, 432 Records, VII Crew, Black Hole Recordings, 24/7 Records, Synk87, Iono Music, 7sd Records, Echoes Records, Solar Tech Records, Airglow Records, Madabeats Records, Upward Records, ProgOn Syndicate and many more..

NEELIX Germany, Spin twist Records

Neelix Spin Twist Records, Germany
Phaxe Iboga Records, Denmark
Waio Sonic Booking, Brazil
Morten Granau 432 Records, Denmark
NEELIX Germany, Spin twist Records
Simon Patterson VII, UK