Today’s guest joins us all the way from Lithuania! Denis Emery is the director and head engineer at mastering.lt, where he offers mixing and mastering services to a wide range of clients. With eight years of experience, Denis began his musical journey as a DJ and studied like crazy to learn how to make his own creations sound as good as the music he loved. Now, he works with record labels, independent artists, and distribution companies and has served hundreds of happy clients.
In this podcast, Denis shares his approach to mastering, his preferred plugins, and more. He also weighs in on the in-the-box vs. outside-the-box mastering debate.
The audio tip of the week is actually five tips, and they’re all about compressing vocals. In short, vocal compression can be great for a mix—but it can also ruin it. Before you reach for the compressor, ask yourself if it’s really necessary. And remember that compression shouldn’t be a substitute for automation. Vocal automation can do a lot to balance out a vocal performance and keep it dynamic. You don’t want to go crazy compressing and squash the life out of a vocal. Subtlety is key.
Tune in to hear all five vocal compression tips in full, and to learn from Denis’ mastering expertise so you can start applying his advice to your music.
What You’ll Learn in This Episode:
- Audio tip of the week: When compressing vocals, make sure you have compression rules and intention in mind to avoid overdoing it.
- How to approach gain staging to avoid issues with clipping and distortion.
- The pros and cons of mastering in the box vs. outside the box.
- Ways to grow your client base.
- Denis’ philosophy and strategy when it comes to mastering.
- Recommended plugins.
- How to prepare a mix to get the best results from a mastering service.
- Denis’ number one mastering tip.
Featured on the Show:
- Connect with Denis Emery: Website | SoundBetter
- How to Compress Vocals Like a Pro
- Connect with the Show: Website | YouTube
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Full Transcript of This Episode
Scott Hawksworth: Hey, how’s it going everyone. Scott back with you, and we’ve got another great show for you today on The AudioSkills Podcast. We are going to be talking about mastering with Denis Emery who comes to us all the way from Lithuania. AudioSkills is very clearly an international show, but before interviewing Denis, I wanted to first give you your audio tip of the week.
My tip this week is actually a number of tips for compressing vocals. Now, vocal compression is something that can be great for a mix, or it can just absolutely ruin it, at least the vocal anyway. First before you ever go to reach for that compressor, as yourself if it’s even necessary. In fact, when it comes to a vocal, automation, be it volume automation or gain automation can do a lot to balance out the vocal performance, and keep it dynamic. Don’t every let compression be a substitute for automation. I’ll say that once more time, do not let compression be a substitute for automation.
Assuming you want to compress your vocal, you’ve done the work you’re saying, “you know what, this vocal needs some compression, I have a goal here.” Here are a few quick tips for when you’re compressing a vocal. Number one, keep in mind that fast attack times tend to push vocals further back in the mix, making them less aggressive. Meanwhile, slower attack times can allow them to really punch through and be more in your face because the difference is that you’re allowing more of those transients through.
Number two, in general, I recommend slower release times adjusted to the tempo of the track with most vocals. Again, this is in general. This is not a hard and fast all the time rule, bu tin general, slower release times to the tempo of the track will get you some better results. However, if you wanted to use a faster release time, that can help with getting a little more aggression out of a vocal.
Number three, like all compression, less is more. Don’t go crazy compressing a vocal unless you want to just squash the life out of it for effect or some other reason. With compression, subtlety is key. Allowing a track, whatever track you’re working on, but especially a vocal to remain dynamic is so, so important.
Number four, if you have an analog compressor available to use during the recording process, use it. Now, I realize that all of us, we have budgets, there’s those of us out there that may not have access to an analog compressor and that’s okay, you can do a lot of great work without one. However, if you do have access to one or you’re looking to build out your studio a bit, I would recommend you look into getting one and you use it on vocals.
I have talked to pros all over the world and so, so many of them like to use a little light compression when tracking a vocal. It just helps balance out the performance and kind of bakes it into the recording a bit, which makes it easier to work with on the backend. You maybe have to do a little less work with that automation or what have you, in order to balance out the performance.
My fifth and final tip here when it comes to compressing vocals is, parallel processing. Yes, I’ve talked about this before, but again, here’s another example where it can be your friend. Having one signal with a compressed vocal, and then an identical signal, which is not compressed, which you then blend together can be a huge win, and of course, we have plugins now that allow you to blend the signal. I do recommend trying that out if you’re trying to compress a vocal because it really helps prevent you from over-compressing things in a way, because it just makes the move a lot more blended together and easy.
These are just a few quick tips, but I think they can really help get you in the right direction when it comes to vocal compression. I actually have a whole article on vocal compression on AudioSkills right now that I will link to in the show notes if you want to dive a little deeper into some of that stuff but bottom line, vocal compression can be great as long as you are doing it with compression rules in mind and with intention in mind. That is your audio tip of the week.
All right, so now I am thrilled to introduce our guest for this week who’s going to be talking with us about mastering. His name is Denis Emery. He is the director and head engineer at Mastering.LT where he actually offers both mixing and mastering services to a wide range of clients. He actually comes to us from Lithuania. Denis, welcome to the show man.
Denis Emery: Hello Scott. Thank you for interviewing me.
Scott Hawksworth: Right on.
Denis Emery: It’s a pleasure to be able to share a little bit of my knowledge.
Scott Hawksworth: Yeah, absolutely. I’ve gotta say, I’ve never met anyone from Lithuania before so this is super awesome for me, kind of expanding my horizon. It’s really cool to be able to get your perspective on audio. Someone who’s just from a different part of the world and you came up in a different way and everything. That’s always really, really exciting and I think people can benefit from learning about different perspectives on audio. Yeah, so welcome.
To start us off, can you tell us just a little bit more about yourself? How did you get into mastering and what kinds of things you have going on over at Mastering.LT?
Denis Emery: Yeah, I started probably around seven, eight years ago just as a DJ. I was playing music and I was dreaming to make some music myself and I was checking, “How can I do this?” I got some speakers, some couple of friends who were kind of like minded, they wanted the same, some space to make music. Then we did something, a couple of tunes, maybe some remixes and they didn’t sound as good as I … If I compare them to something with what I liked, they didn’t sound as good. Not as punch, not enough bass maybe or too sharp, whatever.
Then I started to learn through the night. Not sleeping a lot, going out to sleep in the morning when everybody goes to home. Just trying, trying why, why people sound so good and I don’t sound as good? Then it kind of developed into something. Some friend came to me. He had a rap group project so it started recording, mixing, was running to my car, back, checking how it sounds everywhere.
Scott Hawksworth: Oh yeah, check the mix. Oh yeah.
Denis Emery: Then I developed, developed for seven years already and that’s … I think that’s already a good amount of time, maybe not. 20 years or 10 years like this, say you need to do it for 10 years to be already like a good professional, but I think it’s already enough.
Scott Hawksworth: For sure. It’s so interesting hearing about that because so many people I think, they get interested in recording or mixing or mastering or whatever they’re doing. Then they listen to the music they enjoy and they get frustrated because they’re like, “Wow, I don’t … This does not sound like something I enjoy. How do I get there?” There can be a lot of frustration and it does take a lot of work, but through research and time and just doing it, you can get a lot better.
Looking at your sound better profile, just seeing the comments that people have on your work and saying how happy they are, giving you five stars and all that. That just kind of shows you … You look now, you said you’ve been doing this for seven, eight years and if you were to go back when you were first pretty bummed out by how things were sounding, then showing what you’re sounding today, it’s just a process and it’s all about continually learning and getting better.
Denis Emery: If you ask me, like five years ago, I was already thinking, “I am great.” Three years ago I was thinking, “Yeah, I know a lot now.” Still, now I am learning, finding something. I realized I cannot say I am like, “Yeah, I know everything.” My knowledge is not apt now. Listening to people, trying to understand what they want. I try to be polite. That’s what seven years gave me. Three years ago I was probably not like that.
Scott Hawksworth: Yeah, absolutely, and with that experience. That’s the thing, is no matter how much experience you have, there’s always more to learn and you can always do better and work on your craft. I emphasize this a lot, whatever you’re doing in audio, it is a lifelong pursuit. Yeah, there are quick wins, quick tips and we’ll get into that in a bit here but, overall you just gotta keep working at it.
You are never so good. I had a grammy winning mixing engineer tell me this, “You never so good that you don’t need to go back to the classics and listen to great sounding music and compare yourself to that or you can’t learn something from someone else.” For today’s show, we want to talk about mastering. You’re a mastering engineer Denis. I’m curious, what is your overall philosophy or strategy when it comes to mastering? How do you approach and think about mastering?
Denis Emery: For probably a couple of years now, I learned what helps me is referencing. I reference a lot with every track I master, mix or even if I produce something myself. I always listen to other good songs, music, what inspires me and then-
Scott Hawksworth: Music, yeah.
Denis Emery: Without that I can just get lost. After a good weekend out of the studio, if I come on Monday, immediately start doing something, my ears are already disconnected for some time or after vacations I come, I need to listen to something. Of course, I know how to do things. I have my ways but still, when I turn on something else, “Ah, look, okay, he is brighter,” for example. The vocal is so much nicer or the baseline is more compressed and it feels very warm and nice. Then I go to mine and like, “Yeah, yeah, I’m on the way but still, I need to adjust this. I need to adjust that.” Always referencing, that’s my philosophy.
Whatever tools of course. The tools are important. I always test my tools and I know which tool can bring me closer to what I want from this and that really helps. It speeds up my work and I don’t need to do many revisions. Mostly, always my clients are happy from the first run, from the first export. Maybe I do some changes. Sometimes of course it’s needed.
Of course also the style. It depends on the style, depends on the music. Philosophy can change. Some music needs a lot of limiting, some more dynamics. Of course, every music needs dynamics so depends on the client also. If you know the client, you work for him for example for many years, you know what he wants, what he expects from you. Philosophy is just, I don’t know, simple. For me it’s simple of course.
Scott Hawksworth: That makes a ton of sense. I really like … Starting first of all with references. You’re kind of going into how you have to sort of, I don’t know, reset your ears if you’ve been out of the studio and you’ve been running around, not listening to music. Kind of centering yourself when you get back in there and listening to, “okay, here are some great reference tracks.”These are tracks that get the low end right or are compressed really nicely and have that warm kind of sound that you want or that kind of energy that you want. Whatever it might be.
You do that, and then the second thing would be just knowing your tools and being familiar with your tools. A lot of people I think, they want improvement, and then they think, “Well, I don’t have the right tools. I just need to buy a bunch of gear and stuff.” I would challenge people, before saying, “I need to go buy something,” or, “I need to get a new plugin,” is well, how well do you know the plugins and gear that you do have? How familiar are you with how they sound and how they change things?
Because that will help you and then finally it’s just a matter of, What does that master need? What does the client want? Whatever genre it is, what kind of sound are you gonna be going for? Yeah Denis, that makes a ton of sense. Here’s my question, you have clients who want you to master their tracks. Aside from leaving plenty of headroom for you to actually work, what should someone who is giving you a mix keep in mind to help you give them the bests results? How should they prepare their mix so that you can give them the best results?
Denis Emery: Usually I ask my clients to send me the mix to listen or they come to attend the session. We listen together, we analyze, and that’s probably the best way. Sometimes the client hears in my room how everything sounds. I comment and he makes adjustments and then he sends me the mix, which is already improved and I can work on it.
Sometimes I ask to send me the stems, a couple of stems. For example, if I hear the kick is not good enough or the bass is fighting with something or the synths are fighting with vocals, I tell them, “Send me few stems and I will work with them and I have more freedom to make the best possible results for you.” Sometimes of course, many good producers send the mix, which is already nice, it’s perfect and I just do my stuff to enhance, to give a little bit of color. To finalize what they had in their mind.
Scott Hawksworth: That makes a ton of sense and I think one of the big things is, get the mix as good as it can be and that makes the mastering process so much easier. You were kind of mentioning you might bring someone in and they’ll play the mix and you might be like, “Oh, there’s an issue here,” or, “Uh, this could be a little better.” Then you say, “Before we ever get to mastering this, go back and address this issue or make this mix a little better,” and then that will make the mastering process. That’ll bring the best out of it.
I think one of the big mistakes people make is, they think that mastering, they can fix problems and that’s not really when you want to fix huge problems in mastering. You want to fix those in the mix if possible. And of course, you can address some issues in mastering, but if there’s something that’s just not sounding good, maybe it’s better to address that in the mix and then that way, mastering is just … You can just give it that final sheen as it were. That final polish that really makes it rock. You know what I mean?
Denis Emery: Yeah. I think communication in that case is important. Not to close yourself. Not to be afraid to ask and to take some time to analyze. Normal, open communication. Open dialogue always helps. I always also suggest my clients to reference to something. I always ask them to send me references which they like, music they are listening to and the music which makes them happiest. I try all those things to make my work easier of course, so I know exactly what a client expects, then I aim to that.
Scott Hawksworth: Right on, right on. Kind of speaking of clients, some people want to get a client base or grow their client base. They want to have repeat business and they want to make their clients happy. What advice would you have for growing a client base and getting new clients and really growing your business?
Denis Emery: What worked for me … In the beginning of course when I build the studio, I invested so much money. I had not many clients. I was like, “Hmm, is it worth it? Is it not?” A couple of my friends were saying, “Yeah, yeah don’t worry. It will come, just keep doing it. Keep believing,” and I kept doing it.
Best thing of course is from mouth to mouth. You do something good for one artist, he of course knows somebody else. He suggests, “go to Denis.” That’s how it works. One big boost for me was, I went to a festival in Italy. I met some really nice guys and they introduced me to a distribution company, which from then, I work with the distribution for like five years already. They’ve been my biggest client since. Again, communication. You need to go out from your room. Maybe go to some festival. Speak to some people. You never know who you can meet. Maybe one guy will make a big difference in your life.
Scott Hawksworth: Absolutely. That’s the best advice because I think so many people, especially if you’re really into audio engineering, there’s this idea that it, oh, well you just stay in your little room and you’re just doing that. It’s still a people business, and even though the internet has brought things together, I mean we’re talking right now thanks to the power of the internet. But, even though that all exists, there is a lot to be said for going out to shows, going out to festivals, talking to people.
Even if you take a client, if you get one client and you deliver them a good result or they’re happy with it, say, “Hey, if you know anybody else, send them my way.” That’s how you grow a client base and you get those great reviews and all those kinds of things and you really build a business. It’s not one of those things where … As you mentioned Denis, you bought all this gear, you set up your studio, it’s not like, “Okay, now everybody just will come to me and want to get mixing and mastering done.” You have to put in the work for sure right?
Denis Emery: You have to communicate and it take time. Of course, it takes not one to two days. It might take months, years until you really build it, but music never been a easy business.
Scott Hawksworth: No, it’s not easy but it can be rewarding when you put in the work and you see the fruits of your labor as it were. I have one question here about gain staging. I know a lot of people struggle with gain staging, wither in the mixing or mastering phases. How do you approach gain staging, and do you have any advice to help someone avoid any issues with clipping, distortion, stuff like that when they’re mastering?
Denis Emery: I can speak from my side as a producer. For example, if I produce a track, I of course try to keep the levels down and not to clip, but sometimes you just do something. You add, you make this louder or make that louder and in the end you see the channel is already on red. You just go select all the channels, link them together, drag -6 dB or whatever. Just make sure your master channels is going at -6 dB, not more.
When you work again, if you see again something is boosting, just reduce everything. When you will have a same mix which already sounded good to you and then they make more headroom for you, and then again, you can move other instruments, maybe make them louder and your compressors will not work as hard so constantly. Go back, reduce the levels. Exporting the mix, if you export the mix like that, it will not be clipping. Nothing like that will happen.
Another way of course, if everything is clipping and you’re lazy or you don’t want to do nothing, just export it as 32 bits. In 32 bits as we know, there is not clipping happening. Then you get the file, you normalize it or just reduce it and then the picks will appear gain, so it’s another way around. Sometimes I tell to my clients, I see they send me a brick and then I say, okay. After two tries he still sends me a brick, I say, “Okay, can you do 32 bits?” Sometimes it works like that and I can reduce it.
Scott Hawksworth: You mean a wave for that looks like a brick?
Denis Emery: Yeah, yeah, yeah. That works for me.
Scott Hawksworth: For sure yeah. That’s definitely a good piece of advice. Watch those meters. Obviously mixing and mastering are things where you should be listening of course, but if you’re looking at your meters and you’re slamming up against red there, it’s time to pull some things back and just constantly keeping an eye on that and using that process.
Denis Emery: Of course, for example, if you reduce all the levels, then it might sound too quiet and you don’t get that excitement from the music. You want it louder and your, for example, volume control is not going louder. Just put some simple limiter, which will limit a little bit, make the 6 dB louder on the limiter, which you can remove later just to make yourself happy about that loud sound.
Scott Hawksworth: Sure, sure. There’s a lot of discussion about in the box mastering, that’s mastering inside the computer versus mastering outside the box and using a bunch of analog gear. What are your thoughts on the debate? Which do you prefer and why or do you think one’s better or worse? What are your thoughts there?
Denis Emery: When I started again, from my experience, I had some analog gear. One compressor, another Manley EQ, Great River EQ. I was really trying to use those tools, but after some years, I understood that it takes a lot of time to use this gear and if I need to make a revision I need to always write it down, what was it? It’s time consuming. Of course maybe if you charge 100 euros for a master, you can maybe afford doing that within that time, but I was in the beginning so I was not charging a lot.
I needed to make things quickly and make moves quickly and at the same time, the software started to become very, very good. First it was Xsounds, which I was like, “Yeah, that’s nice,” then I discover some other companies like Acustica Audio who sample the real gear, which probably many of us cannot afford. They sample it with special technology and the result is really, really good. I compare them to some same plugins from Universal Audio or whatever other companies.
Same compressors and I compare it to Acoustic Audio version. For me it was big difference, so I understood its closest to the hardware. It has that life. It has that feel. Now I’m all in the box and I think I can really make the sound which is analog. It has the character, and of course, if I had the same gear in my rack, maybe it would cost 20,000 euros for me now to have it. I doubt if I could make any better audio and any quicker. I think now in 2017, we have everything available to make sounds the same like those big studios of big gear such as …
Scott Hawksworth: Absolutely. I think that’s a really good point. I know that, again, there’s those people who will be purists and they’ll say that, “Well, blah, blah, analog is always there,” but the technology has continued to improve and you can get great, great sound within the box mastering. If that’s true, then I think it goes down to preference and whatever you’re comfortable with, and also what your budget allows.
If you have an extra 20,000 euro or 20,000 bucks or whatever lying around and you’re like, “Hey, I really want to get this fancy piece of analog gear,” well, who am I to stop you? But, you can also get really great results just by listening to some plugins and getting some premium plugins and learning how those tools work. In terms of the debate, there almost isn’t a debate. It’s whatever works best for you and what will make you get the best results for yourself or your client or whatever you’re doing.
Denis, I got one big question here. If you could give one mastering tip to someone who is like, “I want to get better” or, “My masters, they stink. I’m unhappy with them.” What would your best mastering tip be?
Denis Emery: I have to repeat myself I think here. Referencing, referencing is the only thing, because you asked for one tip. I can spread it to 10 tips. Referencing is the main thing. That’s the aim, where you need to go. That’s it. You know the direction, then you need to learn the tools, how to go there and that’s it. Where to go and hoe to go.
Scott Hawksworth: Right, and referencing will provide that map anyway, where you need to go.
Denis Emery: Yes, of course you need to have nice speakers, good acoustics in your room so you understand what’s happening. You cannot do it on laptop probably. All those things are like extras, but main thing is, when you set up everything, studio is ready, what to do next? You need to know where to go, and how to do it.
Scott Hawksworth: For sure. Now, in terms of how to do it, that leads me to my next question. My next to last question here actually. Now, obviously every project is different and different projects call for different things but, if you could, what might your typical mastering chain look? What kind of plugins might you use on it? What might that look like Denis?
Denis Emery: Now I’m looking at my usual preset. First of all, I kind of tend to check if the base frequency is below 100 hertz in mono. Somehow I do it on everything because I find it makes the base, the kick stronger, more focused and then the stereo image from other instruments becomes more somehow defined for me. Then I use digital EQ after that. For example, I use others which was a nice EQ. It has a loading function. You just load some scans from other tracks again, which I think they sound great for that style. If I do hiphop, I load something from hiphop for example.
Of course, I have one preset now which works for me for any genre, but I just came to this conclusion. I just adjust it a little bit. It cuts some frequencies. In the beginning of a process I already have some cleanup. Something is cut, some booming frequencies are dipped, some presence is boosted if needed. Something is dynamically compressed or expanded, and then I listen. I turn it off, I turn it on.
I like, “Ah, okay, it’s improved.” If not improved, then I think, “why?” Then I try to tweak again, say, “Okay.” I tweak it till I hear the improvement. If I hear some degradation in sounds or something is wrong, I am trying to find that, what’s causing a problem. I use some harmonic exciters, some Vertigo, VSM-3 for example. That kind of gives some nice harmonics to the track on of low end, for the sides of the top end some little bit of presence.
After that, I also use a little bit of reverb. For example, LiquidSonics’ Seventh Heaven Professional. It’s made to sound like Bricasti, very famous reverb. A little bit of that on the master. It’s not reverb like which we put on vocal to make the vocal sound in the room or something, it’s just very subtle but it gives me kind of some interesting feeling. I just found out I like it, because I turn it off and I think, “Ahhh, yeah, not so nice.” I turn it on, “Hmm, a little bit nicer to me.” So, that’s always there.
Then again, I use some tracks from Acoustic Audio Gold. They have such a nice plugin, I think it’s modeled after Neve consol. I boost a little it of low end, a little bit of tops, then I balance the levels again, so if I turn it off, the levels stay the same but they hear the change in color. If I turn it off, color is gone, not so nice. I turn it on again, “Oh, cool, cool. Nice stuff.”
Then occasionally I use transient shapers. If the mix is for example flat and I want the kick or the snare to jump out a little bit more, I do it with transient enhancers. I use iZotope Neutron Transient Shaper. Very nice tool. I like it a lot. Sometimes I don’t need it if the mix is already nice and punch. I use Multiband also to compress some frequencies. To compress bass, again to extract the mid side of a mix, which is snare.
I use a little bit of those tools. I don’t use a lot of one tool. I just add, add, add a little bit so it changes. Nothing is doing extra big change, but just small changes. When everything adds up, then I use tape saturation. Also, some neutral settings just a little bit. It warms the mix a little bit more. Sometimes I don’t need it if a mix is already warm. Maybe the guy put it through some analog gear so I don’t need it.
Then I use a couple more EQs just for color also from Acoustic Audio. I have Acoustic Audio, they release plugin, you maybe won’t believe it. It’s a limited run. There were only 250 copies sold of plugin. I got it and nobody else can buy it. That’s it. Also, very nice thing. Different plugin structure. If I boost just a little bit, just very tiny bit, it just makes a big difference for me. Better stereo imaging, more life somehow because that gear … The original hardware I bet I amazing and probably couple 5% better than this one, but still, I have 95% of it so it’s pretty good.
Then the little small compressor also by Acoustic Audio. Good compressor. Made a copy of it. Sometimes it’s doing nothing, just for color. Sometimes it compresses a little bit of snares so something on top. At the end, the end limiter, which I think is very important plugin because you can destroy the mix if your limiter has wrong settings or maybe is the wrong limiter. I tried them all and always to find something new. Going back to old one … Recently I bought one limiter, I thought, “Wow, it’s amazing. It’s the best,” but after a couple of weeks, I decided, “Let’s try the old one I was using,” and old one was better so again, I discovered something. Rediscovered.
Another secret thing I don’t know if I should tell about, anyway, I master from two tracks. If there is one stereo mix, I double copy same mix and they have different settings on it. Somehow density of the sound becomes even more somehow musical for me, even more dense and I can tweak even more. I can put dynamic expansion on the second track and for example, expand just the kick, just the snare. It gives me additional dynamics and additional punch to it.
I can fix something. Once I did master from three same tracks because mix was bad and I needed to put the music louder, but the drums were in my way. I compressed the drums. I removed the transients so mainly the music was left and I boosted it a little bit so the music came in without pushing the drums. It’s like combination of those things. You just try to think, “How can I make it? What should I do to make it better?”
Scott Hawksworth: Yeah, wow. Thank you so much for walking us through that. That’s really, really interesting and really cool to, to just hear your process there. You actually answered a bunch of my questions on what your favorite plugins are because you mentioned a ton of great plugins and tools out there. It’s important to again highlight that you’re not making any huge, huge moves but what you’re doing is, you’re making a bunch of small tweaks that kind of build the master over time and really give you something that really sounds great and that you’re happy with. That’s a really interesting technique you use with doubling the track and working on that. That’s really cool.
Denis, I wanted to thank you so, so much for joining me today and sharing your mastering expertise.
Denis Emery: Thank you for having me. It’s my first time I’m sharing this to open web. I hope people can learn something and comment or improve their art of mixing, mastering and production even. I’m happy to share.
Scott Hawksworth: Absolutely, absolutely. If you would like to learn more about Denis and the work that he dies, you can find him online by visiting Mastering.LT. Thank you all so much for listening today and as a reminder, for links and information about today’s show and our guest, do check out our show notes at audioskills.com/podcast. No matter where you are, no matter what your skill level is, what kind of music you’re working on, just go out there and learn and improve each and every day and make some great music.
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