Great work your side, I try this side but where mastering is concerned I leave it always to the masters!
_Leyland Kirby, Kraków
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“Very much liking what you’ve done here!!”
John Chantler, Stockholm
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The reason I wanted you to do this is because your a musician & I felt also that you would understand the material. Obviously my recording process is really pretty unorthodox… so I know that can be difficult for mastering. Mostly what I am concerned with are the dynamics on the record – which are really important to me and I know you understand!
_Jefre Cantu-Ledesma, New York
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Wow, so they both sound great! You’ve removed all doubts I might have had regarding the mix – it all sounds just fantastic now, crisp and not too thin. I don’t usually hear too much of a difference between my unmastered versions and the ones I get back mastered, so this is a welcome change. Sent the tracks to a friend and he asked who mastered it, he was impressed with how it all sounded!
_Roger Tellier Craig/Le Révélateur, Montreal
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The album sounds aboslutely amazing. Thank you so much. You have pulled it all together. This was work over two and a half years and there are so many different technologies on this, valve, transistor, digital and acoustic and also different spaces and now it sounds a unified body of work.
_Adrian Corker, London
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I regard you as my final collaborator of some sort rather than just a mastering engineer. You are an artist with many years of work and experience behind you. This is the biggest difference between this mastering session and the previous ones, the rest were automatically leaning towards ‘clean’. They are just engineers, not artists. It has become like an automatic routine for them. Which is why I appreciate you ‘breaking the mould’ for my album.
_Fuzz Lee/Elintseeker, Singapur
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Selected Production and Mastering Credits

12k (New York)
1703 Skivbogalet (Stockholm)
Antisolar (Paris)
Cirque (Tokyo)
Coriolislab (Montpellier)
Cronicà (Porto)
Dekorder (Hamburg)
Die Schachtel (Milano)
Editions Mego (Vienna)
Empty Editions (Hong Kong)
EN/OF (Berlin)
Fällt (Belfast)
Häpna (Stockholm)
History Always Favours The Winners (Kraków)
Headz (Tokyo)
HEM (Berlin)
Invisible Birds (Brooklyn)
Kitty-yo (Berlin)
Kompakt (Cologne)
Line (Los Angeles)
Leonardo Music Journal (MIT Press, San Francisco)
Lucky Kitchen (La Rioja)
Mexican Summer (Brooklyn)
Mille Plateaux / Ritornell (Frankfurt)
Mutek (Montreal)
Orthlorng Musork (San Francisco)
Own Records (Luxemburg)
Plop (Tokyo)
Raster Noton (Berlin / Chemnitz)
Room 40 (Brisbane)
Saltern (Los Angeles)
Samadhisound (London)
Schwebung (Bonn)
Shelter Press (Paris)
Spekk (Tokyo)
Staalplaat (Amsterdam)
Staubgold (Berlin)
Tigerbeat6 (Oakland)

Festivals and Institutions:
25. Zagreb Musik Bienale
AKOUSMA Festival, Montreal
Berlin Townhall
College des Bernardins, Paris
Fundaçao Serralves, Porto
Experimental Intermedia, New York
Cosmocaxia New Science Museum, Barcelona
Electronic Music Foundation San Francisco
Fondazione San Fedele, Milano
Fundação de Serralves, Porto
Fundacion Telefonica, Buenos Aires
Goethe Institute Barcelona, Belfast, Boston, Belgrade
LAMPO, Chicago
Merz-Akademie, Stuttgart
MITO Settembre Musica, Milano/Turino
MUTEK Festival, Montreal
National Galerie Stuttgart
Présence Électronique/Ina GRM, Paris
Radialsystem V, Berlin
Radio France, Paris
Schirn Kunsthalle, Frankfurt am Main
Sophiensæle, Berlin
SONAR Festival, Barcelona
Steirischer Herbst, Graz
UNESCO Cultural Heritage Völklinger Hütte
ZKM Karlsruhe