At Masterplus studio, we master all types of music with a specialization oriented towards urban, rap, hip-hop, RnB and electro. By calling on our sound engineer, Julien Courtois, for your masterings; in stereo, from stems, or even in Dolby Atmos, you are guaranteed to get audio files that comply with market standards and are suitable for broadcasting on different streaming platforms such as Apple Music, Spotify, Tidal and YouTube.
Today, the success of a track is largely linked to the quality of its production and to the different audio treatments applied at each stage in order to create a sound “footprint”, an identity. Mastering, like all stages of production, deserves the attention of a professional sound engineer who, through his expertise and experience, will be able to make the right decisions to preserve and even enhance the sound identity that you and your team have created.
Whether a full length album or an EP, thanks to the mastering process, your productions will gain a consistency from one track to the next and be able to be broadcasted on all types of speaker system in an optimal way.
For the past twenty years we have had the chance to collaborate and exchange with many artists, recording studios, and labels specialized in the field of so-called 'urban' music and thus shape our own technical and artistic approach to mastering for these specific styles of music. By entrusting your productions to Julien Courtois, you are guaranteed to have a critical and objective opinion on your mixes and also obtain a mastered sound with lots of character and a clever mix of punch and finesse.
Electronic music is the bread and butter of our sound engineer. Some would say he is so passionate about electronic music that it runs through his vains. He knows its history, its major artists, and the whole range of machines and existing techniques that create the sound identities linked to each style. By bringing Julien into the loop and entrusting him with the mastering process, your productions will shine in both texture and originality. In this style of music that requires great technical skill, he will also be able to help avoid the mistakes not to make at each stage of production and how to think about them right from the start of composition.
In recent years, many sites have appeared on the web promising you a high-quality master track treated by artificial intelligence. Of course, we are entitled to wonder what the difference is between a human sound engineer and the good ol’ Izotope mastering preset (who actually makes very good plugins), which we have all used at least once in our life ;-) But, is it really a good idea to let a machine apply a treatment that it considers relevant to a mix because it has gradually memorized the fingerprints of tracks close to it? Is that really what we want?
If there is one thing that we have learned during these twenty years of experience, it is that there are no rules in this profession. Each project is different and must be approached in its own way. It is during exchanges and discussions between humans that the best productions have been made, are being made, and will forever be made. This alchemy creates an infinite and unexpected number of variables that no machine can ever copy.
It is a very technical step but also artistic by the choice of the machines chosen to color the sound. It is here that the unpleasant frequencies are sifted through and cleaned up, but it is also at this stage in which some frequencies are chosen to be increased to define the style and sound identity of the track.
This is an essential stage of mastering which is a high art. The compression will give body and increase the perceived attack of the sound. By reducing the dynamic differences between each track of the mix, it will create a 'glue' effect that will flatter and compliment the listener's ear. In comparison with the real world, when we listen to our environment, it is quite the opposite since the greater the dynamics, the more we perceive the different impact sound has around us. It is therefore a very specific approach to recorded music that has been shaped by time and the various sound engineers who have marked their eras.
Always wider, always wider… yes, but with a meaning and finesse. When we give more width to the sound by using an M/S matrix connected to an equalizer and/or a compressor, we must keep in mind that our perception of stereo is based on the center and that therefore without a center, there is no stereo...
This is the final step. It is here that it is still possible to pull a few dBs for those who like a very compressed sound ;-) More seriously though, it is at this stage that the dynamics will be calibrated according to the broadcast medium. For example, for streaming platforms such as Apple Music or Spotify it will be -14 LUFS and -1 dBFS True Peak, for Dolby Atmos -18 LKFS and -1 dBFS True Peak.
This is a post-production step when the destination medium is a CD or vinyl. Each track of the project will be sequenced in the order chosen by the artist. The adjustment of pauses or sequences, the integration of metadata (CD) such as ISRC codes or artist credits will also be done at this stage. The engineer then creates a disk image (DDPi) which will be sent to the pressing plant and which will serve as a template to create the discs.
You provide us with a bounce of your mix in 44.1 kHz | 24 bit minimum with an output level calibrated between -20 LUFS and -14 LUFS and not exceeding -1 dBTP. We will then apply an analog and digital treatment to it, respecting the artistic direction that you communicate to us and calibrate it according to the destination medium.Starting from 80€
You provide us with up to 8 stems (buses) of your mix in 44.1 kHz | 24 bit minimum. Your stems represent your overall mix when played flat. The sum of your stems must have a calibrated output level between -20 LUFS and -14 LUFS and not exceed -1 dBTP. This solution allows our sound engineer to be able to adjust and process your tracks if necessary and thus meet all the conditions necessary to obtain a high quality master. The sum of your stems (Mix) is then processed via our analog and digital mastering chain and then calibrated according to the destination medium.Starting from 150€
We are, with our partner, the Studio du Faune, authorized by Dolby to produce Dolby Atmos certified masterings for digital distribution on Tidal, Amazon Music and Apple Music as Spatial Audio. Dolby Atmos does not necessarily require a surround system to be play, even if it remains the listening method that provides the most powerful sensations, it can be listened to with headphones thanks to binaural technology. You provide us with up to 16 stems (buses) of your mix in 44.1 kHz | 24 bit minimum. Your stems represent your overall mix when played flat. The sum of your stems must have a calibrated output level between -23 LUFS and -18 LUFS and not exceed -1 dBTP. Thanks to this technology, our sound engineer will be able to place each of your tracks in a three-dimensional space, thus creating an immersive listening experience. The sum of your stems (Mix) is then processed via our digital mastering chain and then calibrated in accordance with Dolby standards.Starting from 200€
For the sake of transparency and for artists and labels who do not know us yet, we offer you the possibility to test the quality of the masterings of our sound engineer, Julien Courtois, on one of your tracks. The test will have a duration representing approximately 3/4 of your track. Thanks to our Fidbak tool, you can easily exchange with Julien on the technical parts and on possible improvements that your mix might need.Send my mix and test the mastering service