Tim Boyce’s specialties lie in world, dance, dub, hip-hop, ethnic, remixed, and other genres, and his production credits include French Montana, SLDGHMR, Deathrow Tull, MSTRKRFT, Nightbox, and RAC. Tim’s creative desire to breath life into a static space allows him to finely tune an album into a living movement, not just a passive listening experience. If you need cutting-edge mastering, Tim’s your engineer.
Q: My music is pretty unusual. What kinds of things should I talk to my mastering engineer about before mastering?
A: With so many styles of music, and hybrid/fusions happening in both the live and production music scenes, it’s sometimes difficult for a mastering engineer to guess what the artist has in mind. Sometimes it’s obvious what path to take. For example, a ballad or orchestral work has a very different mastering approach than an aggressive club banger. But what about a folk song with traditional instruments (banjo, fiddle, acoustic guitar), synths, and a hip hop rhythm on upright bass? (It happens: I heard it last week, and it was awesome!)
If you’re making new cutting-edge music, or re-defining your sound by trying something new, it’s often best to let your engineer know exactly what you have in mind. Let them know you really want the bass larger than life, even though it might not be the most dominant element of the arrangement. Or that we are experimenting with filters on the banjo to make it sound filthy and really cut through the mix like a dance synth. Your mastering engineer won’t know unless you tell them.
Personally, I love working on music that pushes the boundaries. You should always be able to feel free to reach out directly to your engineer. We’re not mind readers, but we’re all very nice and we want you to be thrilled with how your music sounds. So reach out, and lets talk.