Online & Local HUMAN Mastering

SERVING WORLDWIDE
from Hampton Falls New Hampshire USA
603.944.6710

BRIAN JAMES
OWNER and ENGINEER

 

AUDIO MASTERING, RESTORATION, PRESERVATION and PRODUCTION

CONTACT @ CARDINALMASTERING.COM

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SAMPLES OF RECENT WORK

Each of the following samples contain an excerpt  from recent projects. The first portion of each sample is the completed master followed by a portion as it was provided, pre-mastering - they then alternate between the two. All sections are as volume matched as possible (they can never be perfectly matched because of differences in the inner dynamics). Though I've found it common on other sites, it would be pointless (and deceiving) to provide samples where volume is not matched - even the slightest bump in volume causes us to perceive an increased clarity in audio. I'm presenting these in the same way I work on them, with as little change in volume as possible between before & after . . . of course, in the end the volume is brought up significantly via limiting or whatever process best suits the material. The differences between an un-mastered track and a finished master are often subtle - it is only when the samples are gain matched that this becomes evident - though mastered tracks will have more depth, more clarity and more of a solid delivery overall they can also be more contained tonally, allowing for the best translation across many systems. Contrary to popular belief, mastering is not usually a process that changes the material drastically!

Better Futures | Photo Caption

C. Schell | Quite Something (remastered)

Indie Rock (2018)

Acoustic Folk | Singer Songwriter (2005)

Holden Brown | Hell On Wheels (demo)

Paper Monsters | Somewhere I Belong

70's Rock, Show & Soul (2019)

Alternative Rock / Live (2018)

Tom Calderone | Backroads Again

The Skanx | The Worst Thing

Solo Acoustic / Fingerstyle Guitar (2018) (Additional Production)

Punk Pop | From The Film 'Earworm' (2016)

VARIOUS TOOLS IN USE

outboard processing equipment



My setup changes frequently but at the time of this writing I am using
the following outboard, monitoring and software:

 

Lynx Hilo Mastering AD/DA & SRC (192kHz)
KEF Reference 104 Series Mains + Dual Subs - Avantone Active Cubes (small reference)
Emotiva XPA-200 Class A/B Amp - Oppo PM-3 & Sennheiser HD650 Phones
Emotiva DC-1 D/A (192kHz) - Heritage Audio System 2000 Controller

Anthony DeMaria Labs Tube Stage  -  Weiss DS-1 De-esser / Compressor / Limiter
Junger Level Magic - DBX 160SL Dynamics  -  Black Lion Inductor EQ (modified)
Custom SSL Clone C-Strip -  Drawmer Compressor / Limiter - Dual Quantum II
Digital Mastering Processors (EQ, Dynamics, Spacial Processor + SRC (96kHz))
1979 Modified Broadcast Parametric EQ - Custom Built MWS / DAW running
REAPER X64 / HOFA / IZOTOPE RX

Various software by: Acustica Audio, Leapwing, Kush, Eventide, URS, oeksound,
Tokyo Dawn Labs, Klanghelm, Acon, SKnote, PSP, Brainworx, Sonimus, Overloud,
Goodhertz, Louder Than Liftoff, Kazrog and Voxengo

Secondary Listening Room: B&W 685 Bi-Amped w. B&W Sub
Emotiva BigEgo (384kHz) - XPS-1 Phono Pre, Dynaudio & Wharfedale
alternate listening, AT Direct-drive Turntable, HFM 400i Phones
B&K Reference 50s2, Processor, PM6005 Amplifier

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