Selected Work

Selected Mastering and Production Credits


  • 12k (New York)
  • 1703 Skivbogalet (Stockholm)
  • Antisolar (Paris)
  • Blank Forms (Brooklyn)
  • Boomkat Editions (Manchester)
  • 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)
  • 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)
  • Nature Bliss (Tokyo)
  • Orthlorng Musork (San Francisco)
  • Own Records (Luxemburg)
  • Palto Flats (New York)
  • Raster Noton (Berlin / Chemnitz)
  • Ritornell (Frankfurt)
  • Rekem (Athens)
  • Room 40 (Brisbane)
  • Saltern (Los Angeles)
  • Samadhisound (London)
  • Second Editions (Berlin)
  • Schwebung (Bonn)
  • Shelter Press (Paris)
  • Spekk (Tokyo)
  • Staalplaat (Amsterdam)
  • museme. (Australia)
  • Mutek (Montreal)
  • Staubgold (Berlin)
  • Sub Rosa (Brussels)
  • Supreme (New York)
  • Temporary Residence (Brooklyn)
  • Tigerbeat6 (Oakland)
  • Touch (London)
  • Touch of Loft (Brisbane)
  • Two Acorns (Tokyo)
  • Whitelabrecs (Peterborough)

Festivals and Institutions

  • 25. Zagreb Music Bienale
  • AKOUSMA Festival, Montreal
  • All Tomorrow’s Parties, Bercelona
  • The British Library, London
  • College des Bernardins, Paris
  • Contemporary Music Research Center, York
  • 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, 
  • KW Institute for Contemporary Art, Berlin
  • LAMPO, Chicago
  • Merz-Akademie, Stuttgart
  • MITO Settembre Musica, Milano/Torino
  • MUTEK Festival, Montreal
  • National Galerie Stuttgart
  • Présence Électronique/Ina GRM, Paris
  • Radialsystem V, Berlin
  • Radio France, Paris
  • Rotes Rathaus, Berlin
  • Semibreve, Braga
  • Skaņu Mežs, Riga
  • Schirn Kunsthalle, Frankfurt am Main
  • Sophiensæle, Berlin
  • SONAR, Barcelona
  • Steirischer Herbst, Graz
  • Triennale di Milano
  • UNESCO Cultural Heritage Völklinger Hütte
  • ZKM Karlsruhe


“The reason I wanted you to do this is because you’re 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

“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

“The album sounds absolutely 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

“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, Singapore