Selected Mastering and Production Credits

Labels:
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)
Experimedia (Kent, Ohio)
Fällt (Belfast)
Häpna (Stockholm)
History Always Favours The Winners (Kraków)
Headz (Tokyo)
HEM (Berlin)
Icarus Records (Ghent)
Invisible Birds (Brooklyn)
Kitty-yo (Berlin)
Kompakt (Cologne)
Line (Los Angeles)
Leonardo Music Journal (MIT Press, San Francisco)
Lucky Kitchen (La Rioja)
mAtter (Tokyo)
Mexican Summer (Brooklyn)
Mille Plateaux (Frankfurt)
Moving Furniture (Amsterdam)
museme. (Australia)
Mutek (Montreal)
Orthlorng Musork (San Francisco)
Own Records (Luxemburg)
Plop (Tokyo)
Raster Noton (Berlin / Chemnitz)
Ritornell (Frankfurt)
Room 40 (Brisbane)
Saltern (Los Angeles)
Samadhisound (London)
Second Editions (Berlin)
Schwebung (Bonn)
Shelter Press (Paris)
Spekk (Tokyo)
Staalplaat (Amsterdam)
Staubgold (Berlin)
Sub Rosa (Brussels)
Temporary Residence (Brooklyn)
Tigerbeat6 (Oakland)
Two Acorns (Tokyo)
Whitelabrecs (Peterborough)

Festivals and Institutions:
25. Zagreb Music Bienale
AKOUSMA Festival, Montreal
The British Library, London
College des Bernardins, Paris
Contemporary Music Research Center, University of York
Fundaçao Serralves, Porto
Experimental Intermedia, New York
Cosmocaxia New Science Museum, Barcelona
Earle Brown Music Foundation, New York
Electronic Music Foundation San Francisco
Fondazione San Fedele, Milano
Fundação de Serralves, Porto
Fundacion Telefonica, Buenos Aires
Goethe Institute Barcelona, Belfast, Boston, Belgrade
KW Institute for Contemporary Art, Berlin
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
Rotes Rathaus, Berlin
Schirn Kunsthalle, Frankfurt am Main
Sophiensæle, Berlin
SONAR Festival, Barcelona
Steirischer Herbst, Graz
UNESCO Cultural Heritage Völklinger Hütte
ZKM Karlsruhe

Testimonials

… where mastering is concerned I leave it always to the masters.
_Leyland Kirby, Kraków
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Thanks for all your hard work! I wanna do more stuff together.
Motion Graphics, NYC
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I was really impressed at the attention to detail and swiftness with which you were able to work, retaining the original intent of my work but fortifying it and cleaning exactly what needed to be clarified. one of the easiest master sessions i’ve ever experienced, with i think the fewest ever passes.
_Derek Piotr, NYC
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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, NYC
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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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