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Do I Need Mixing AND Mastering? Stem Mastering? Or Stereo Mastering For My Music?

If you are wondering “How can I make my music sound better?” You may be considering taking your mixes to a pro, but are wondering what service your money is better spent on: professional mixing vs mastering, stem mastering or stereo mastering.

Below is an easy flow chart to help you decide, and we will briefly answer some common questions like what is the difference between mixing and mastering? What is stem mastering? We will explore stem mastering vs mixing and mastering.

Pro Mixing and Mastering packages:

Send us your recordings and we will transform them into a record! Get your mix as close to your vision as you can, then export your individual instrument stems (as many as you need) and send them over. Make sure you export all the parts from the same time, so it all lines up (usually from the very start 0:00).

We will give it a luxury analogue mixdown using our old-skool analog desk, valve hardware and 25 years of studio experience. We will then master lovely new mix and deliver you a radio-ready album you will be proud of.

Stem Mastering:

What is stems mastering? Stem mastering is like a mini-mix and mastering approach. It can optimize something brilliant, or correct a few difficult elements.

If your mix is pretty damn great already, and you just want to optimize it, then group the various elements together before exporting. E.G. group all the drums together in 1 stereo file, all the vocals in 1 stereo file, softer instruments, heavy instruments etc. Usually around 5 or 6 stems works well for most tracks. We will mix them back together, tweaking the individual parts so they sit perfectly together, use analogue summing then a fat analogue master for awesome results.

We can also save a mix using stem mastering. A classic situation is having a great backing track with a vocal or lead guitar that just doesn’t quite “sit right”. Or maybe you are not confident in you Sub/kick balance. We can stop your headache and ease your pain for pretty low price. Just bounce us an exported mix with the problem elements muted, then export the tricky elemements soloed. E.G. [Main track No Lead Guitars / Lead Guitar 1 / Lead Guitar 2] or for a dance track [Sub Bass / Kick Drum / Bounce Bass / Everything Else].

Stereo Mastering:

If your mix is already perfect and you are happy with it, then just send it over for straight-up stereo analog mastering. We will treat your mix like a queen, pamper it, give it some love, fatten it up, polish it shiny, make it sound expensive (but it won’t cost you too much). Fire it over. and we will deliver your awesome results.

Now you know what approach would suit your music best, upload your files and we will work some magic on your mix, and deliver you that pro sound you crave.

If you want to order stem mastering, simply choose “stereo mastering”, and add the number of stems you require using the “add stems for stem mastering” product.



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Can You Use Digital Masters To Cut Vinyl Records? – Or Do You Need Separate Vinyl Masters?

can you use digital masters to cut vinyl records

We’ve had several jobs recently remastering audio for vinyl, so I’ve written a short article about why it’s important, explaining the difference in mastering for digital vs vinyl, and answer common questions such as “Can I use digital masters for vinyl records?”.

Releasing a vinyl record is an expensive business. It’s tempting to cut corners where possible to save money, and inevitably at some point the question gets asked… “Is a separate master really necessary for vinyl? Or can I use CD masters for vinyl music?

Short answer = You should really use a separate vinyl master for the best results.

Your Masters that are created for digital use (Streaming/download/CD) are the no-compromise, perfect sound quality version you as the the artist wants. On digital platforms, and on CD there are virtually no creative limitations to what can be achieved in the stereo mix and master, as digital playback systems can deal with it.

It’s not the same on physical vinyl. If you try to use the digital master on a vinyl cut, suddenly you might find that awesome bass effect sounds quite different, or worse makes the needle skip. You may find the sparkly upper midrange now sounds a lot more harsh. You’re sure the digital master sounds punchier, more vibrant, more alive. What’s up?

Often masters for digital are accepted by the vinyl pressing plant, as they are technically OK to press on vinyl, but the end result could be disappointing sound quality which may sound less vibrant than the same masters listened to on digital streaming platforms like Spotify or a CD.

Using masters optimized for digital use to press vinyl can result in a slightly flatter sound, less dynamic range, various levels of distortion, skipping needles when playing back, and less overall “life” than on the digital masters – a shame after spending so much money on getting the records pressed!

Why Does Dynamic Range Matter So Much When Pressing Vinyl?

What is dynamic range? = a measurement of the difference between the absolute quietest sound, and the absolute loudest sound that something is able to represent.

An unplugged electric guitar can play very quietly, but can’t go very loud at all, so it has a low dynamic range. A drum can play just as quietly as the guitar, but of course can go way louder, hence a large dynamic range.

Related to mastering: A slammed, super-loud EDM Pop master would usually have much less dynamic range than a space-jazz epic.

Different mediums have different dynamic ranges too. CD, vinyl, cassette and digital files all have different limitations of dynamic range.

In contrast to what you might expect, the louder and heavier the digital master is, the flatter, quieter and generally more-rubbish-sounding the vinyl will usually be! Why? Because the dynamic range on vinyl is massively less than is available on digital formats, so compromises must be made at the pressing plant to compensate for your massive digital master.

So although many people feel vinyl sounds “better” it is scientific fact that in terms of dynamic range, digital can handle louder-louds, and quieter-quiets.

Without getting bogged-down into too many boring academic details and variables like dithering which can skew the measurements, let’s quickly check out the difference in the dynamic range of 3 common mediums:

24 Bit WAV digital audio (common “studio” quality for recording and bouncing final mixes pre-mastering): a dynamic range of 144dB, which goes from really-bloody-quiet, right through to thunderously loud!

16 Bit WAV (CD quality): dynamic range is 96 dB, so you see there’s dramatically less possible volume difference between the loudest sound and the quietest sound. 48 dB is a lot of difference.

Vinyl: Can vary dramatically, but it averages out around 80dB dynamic range, with some wriggle-room. That’s much louder-quiets, and quieter-louds available on vinyl!

You can see that only taking into account the factor of dynamic range, there are big differences that should be accounted for when mastering for vinyl.

If you are absolutely in love with your existing fat digital master, we can adjust it for you to suit the vinyl medium specs and translate beautifully in the way you want and expect.

Mastering for vinyl records is a very worthwhile part of the process. For a comparatively small extra charge, you can have faith that your tracks are represented as well as possible, and you won’t ever be wondering if your record could have sounded a bit better if you’d got the additional pre-vinyl mastered versions…

Case Study – Preparing Digital Masters for Vinyl

A client wanted to use his CD masters for vinyl pressing, and sent them to us, as the pressing plant warned them the cut would have issues because the masters had been pushed quite hard, and had some low-end phase issues. He didn’t have the unmastered mixes anymore, so needed to use the existing CD masters.

Often CD masters have been pushed hard for volume at the expense of dynamic range, and this could lead to a compromised vinyl cut sounding flat and lifeless. Of course, they are also at 16 bit too.

So we did a little restoration: We restored the dynamic transients from the original CD masters, increasing the dynamic range, restoring life, bounce and natural energy, and ensuring a stomping vinyl cut!.

Look at the picture: Blue waveforms = original masters, Orange ones = after we restored the dynamic range.

Notice how the lower waveforms look more open and natural now. The transients have been delicately & naturally restored. You can see how the natural subtle energy has been given back, and the life breathed back in.

He was happy with the overall sound of the original masters, so we were careful not to mess with the tone and only adjust the technical aspects, including increasing dynamic range and transients, ensuring there was no low-end phase problems, checking the upper-mids and high-frequencies carefully to ensure they wouldn’t sound harsh on vinyl, and providing some extra headroom.

To the listener it sounds very much the same as the previous masters, but the new files are much more suited for the vinyl medium. Mastering for vinyl specs will give a better quality cut, and generally soundbetter.

Using Digital Masters For Vinyl – A False Economy

So to answer the question “can I use digital masters for vinyl records?” = Maybe, but why risk making the vinyl sound rubbish to save a small fraction of the overall cost? It’s like buying a house but not a bed.

If your test pressings come back sounding bad, and you realize it’s the digital masters at fault, you will have to order (and pay!) for more test pressing next time around. PLUS the cost of getting proper pre-vinyl masters done next time around too!

Vinyl pressing plants have long lead times already (6 weeks is pretty standard), and small delays can cost extra weeks in the real-world. We dipped our toes into being a vinyl broker once and it was a nightmare with the ever-changing lead-times, so it’s important to send everything off right first time and save yourself time, money and hassle in the long run.

Make Your Vinyl Sound Fat As Funk!

Fat As Funk has been mastering for vinyl since 2006. Whether it’s remastering old recordings for vinyl, getting fat digital masters with proper pre-vinyl masters made at the same time (for a massive discount), or remastering already-mastered material to be optimized for vinyl – come to Fat As Funk!

Our mastering for vinyl price is the same as for digital if that’s the only format you want, and if you want an alternative master for digital use done at the same time, we can do this at a huge discount.

Cost example: If you get 10 tracks mastered for digital it’s £230 all-in. You can get proper pre-vinyl masters done at the same time for only £10 each/£100 – a saving of £130 when bought at the same time!

You can try our online mastering free, just upload a track. When you are ready for full mastering, consider getting pre-vinyl masters done at the same time if you are getting vinyl pressed, or even just a few custom vinyl record dublates.


RANE Twelve & Numark Scratch Mixer Deal. Mmmmm.
Or just the Numark Mixer is a great upgrade if you have a set of decks already.
Traktor control vinyl, a modern DJ essential.
Native Instruments Traktor Scratch A6 USB Audio Interface is a winner.
Hold it down. Put a record weight on it! MasterSounds Turntable Vinyl Record Weight
Dr Suzuki Slipmats. The one time you want to be slippin’
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Producer Interview Series – Arrival Sound System

In this new producer interview series, I interview regular Fat As Funk Mastering clients whom I’ve got to know over the years, & have some interesting things going on musically.

First up is reggae producer Hal, from the Arrival Sound System, who has recently released the sublime album “Voices”. A collection of blissful positive dubwise vibes, featuring a variety of different vocalists. A perfect refresher from the stressful world of today.

What was the first moment in your life that really stands out as the driving force behind your musical path?

Buying my first DnB 12”. I think it was by Peshay. I can’t remember the name but I can remember what it looks like… That was the first step into DJing which led to production, learning keys etc.

How long have you been writing & producing music now?

Since age 15 so that’s coming to 20 years in august, I had no idea that much time had passed!

What album/track/collaboration are you most proud of, & why?

The album I’ve just finished which you mastered! An all female voices reggae album called… Voices Its definitely the best thing I have ever made!

Was there a particular piece of equipment/unusual instrument/recording technique that stood out as especially important during the making of that session?

It would be my new Ableton Push! Having gone through loads of different controllers and keyboards over the years I have finally found something that bridges the gap between human and computer! Music music making so much more of a collaboration, before I always felt separate from the computer and with the push it feels like the computer has become an instrument. You can fly around your DAW at a lighting speed and scroll though scales without changing your hand shape and then add tracks/plugins and mix and play and more and more.

Ableton Push

Are there any moments in your musical life where you still feel really nervous?

I still feel nervous before a live show or in fact a live stream. Standing behind the controls ready to play your original music is like opening yourself up to the world and as an introverted person that always makes me nervous and I actually hope it always will, it is what makes playing this game worth it!

What aspect of the music industry have you found hardest to gain traction in? And how did you overcome the resistance?

Getting booked for shows or festivals, it has been very hard to cope with so much rejection! Sending countless emails off into the void of no reply or worst getting a reply that leads to nowhere. The only way to overcome the resistance was to teach myself to care less or cultivate no attachment. Its still exactly the same game but it doesn’t reduce me to a depressed wreck anymore.

Tell us about a couple of musical breaks you had that really made you feel you’d progressed forward in your career.

So there was this one gig at Shambala festival, I think 2018, on Sunday night at 10pm. When we arrived at the stage the venue was empty and as it was Sunday I thought it was going to be a real let down but just after we started this stream of people came in, there had been the closing fireworks not far from the venue, we ended up playing to well over a thousand people who rammed the tent and jumped and danced for the whole hour. Life changing!
The second would be Goa Sunplash in India, I made contact with the organizers through a friend in Nepal and went and played the January festival three times over consecutive years. It’s a great festival with a mixed audience from around the globe and a lot of great reggae musicians come to play, unlike the UK where its unusual create links with other artists, as often they leave straight after a festival gig, here as we’re all on the beach in the sun far from home. There was a great opportunity to meet and mix and build relationships with other dub heads.

Do you want to share any funny/shocking/surprising/scandalous stories you have from on tour/in the studio/around the music industry? Please change the names to protect the innocent/guilty!

The only one I can think of would be a show at One Love festival where I thought our stage time was 2pm and Delroy the mc was super late, more than usual so I had to detour to get him, we arrived after foot to the floor mad driving at five minutes to two to be told that it was actually a 2:30 stage time and that because they were having problems with security that the festival wasn’t open yet anyway! We played our gig to a completely empty tent. But it was funny and we did a really good show!

What excites you most about making music nowadays, compared to what excited you when just starting out?

Its exactly the same, that buzz when you’ve just got a really good loop going or a singer send you a test vocal on one of your tunes and you feel all energized.

What was the most inspiring gig/festival/club night you went to in your youth? & what stood out as being so special about it?

Mad Professor Glastonbury 2002 or 2003 Sunday night in lost vagueness with this huge pile of speakers, it sounded so good and was wobbling all my organs. Every now and again the professor would leave the stage for some reason and this younger guy would sidle over and crank up the bass with a naughty look on his face, then professor would come back and notch it down again, this continued for what seemed like hours! Banging!

What was the first studio technique you learned where you thought “wow this is next level!” & really felt like you had advanced your technique a notch. & what was the equipment/DAW you learned it on?

It would probably be either the power of side chaining or mastering Melodyne. Both on Logic, although I am now a complete Ableton convert.

Do you have a favourite microphone/s? What do you like about it?

I don’t own many microphones but I do really like the new one I bought recently, Aston Origin fixed large diaphragm condenser. It sound super smooth at the high end and gives me everything I want from a vocalist or instrument and it is very fairly priced!

If you’re in a recording session & inspiration drags, what gets you back in the creative zone?

Well it used to be a little smoke but these days it’s a bike ride, if I’m working with another human than it would be a cup of something and a snack.

What are your favourite headphones to produce/DJ with? Why do you like them?

I don’t have any favorites, I bought some £300 focal ones that I thought sounded pretty good until I bought some £30 Sennheiser at an airport and discovered I liked them far more. But in general I now hate headphones, as I’m pretty sure that they are responsible for my tinnitus.

Has traditional music theory been useful to you?

I would say yes, a good knowledge of scales and chord positions speeds things up, since buying the Push I have started to approach music in a completely different way sort of based on traditional theory and sort of not. My teachers always said its good to know the rules (theory) to understand how to break them.

What was the first bit of kit you acquired that you were insanely excited by, & when?

Probably my first Pa speakers when I was 14, three way with a 15” for the low end. Loved them, I still have the 15” drivers the boxes are long gone.

Who were the first few musical artists that really turned your head & influenced your work?

Bob Marley (of course), Dreadzone, Zion Train, Mad Professor plus all of the Drum and Bass and Jungle.

What, if any, cultural aspects influence your music most heavily? E.g. films, politics, art, regional influences, religion etc.

Sound system culture or rave culture, as a youth I went to a lot of free parties in the woods.

Yep, I enjoyed those parties. Good times raving with you back in the day. I dug out an old photo from 2009:

Has being a musician affected your personal relationships, either in positive or negative ways?

It has been the central theme of my life so I would say it has affected all of my relationships hopefully positively I can’t think of any negative impacts from my perspective but that doesn’t mean that they don’t exist.

Got any predictions for what the next big sound will be?

I wish but even if I did know what would be popular next I would probably still make the same kind of sound that I make now. I sometimes try to push outside my box but I always end up making stuff that I like that sounds the stuff I like. If that makes any sense maybe.

Do you have a particular workflow you usually start with? Or do you find a sound or groove that grabs you & just go from there?

I put a lot of work into a really great template in Ableton and so it all starts just with a jam, could be drums first or chords or bass.

Have you had to diversify much across your music career, in order to pay the bills at times? What else have you done while building up your music career?

I work as a sound engineer, lighting designer and general show tech which has very fortunately paid my bills and allowed music to just be a passion in my life.

What’s your current favourite instruments?

Again it’s the Ableton push! But that’s boring so my next one is a little coconut Kalimba I bought in Kathmandu (with a contact mic built in!) followed by my mouth harp twanger thing and my melodica!

Are there any good Music books that you have learned a lot from & recommend?

The music lesson by Victor Wooten is a nice story with lots of tips about how to be musical and avoid being confined by notes and scales.

What piece of advice would you give someone about to self-release a record?

Make double sure you’re super happy with the mix and master and read all of the criteria for distribution, metadata, image formats etc very VERY carefully!

If you could go back in time & give your younger self some important advice, what would it be?

Get on with it! Practice! Don’t get too attached!

What are your favourite festivals? Either to play at or go to as a punter?

Shambala just has the best people and amazing music! Boomtown is the most awe-inspiring and also has great music and Goa Sunsplash is on the beach in Goa and has reggae – ’nuff said!

What’s your favourite movie soundtrack? Why?

Tough one! Probably Jurassic Park, I love john Williams and that theme is just killer.

What’s the most essential bit of music kit that has helped define your sound?

Native Instruments Komplete Ultimate basically is my sound in all the various presets. I do tweak them a bit once I’ve got my part recorded but mainly I find my sound in their sounds. Obviously the mix has a massive impact so I would have to throw in the Waves Platinum bundle now as well.

What’s the most precious thing to you in the studio (not the most expensive!) & why?

My hearing! The tinnitus has got a lot worse in the last year and I wish I had been more careful. I now have very expensive earplugs and mix at low levels but the damage has been done!

Your top tip for aspiring musicians?

Look after your ears! Practice non-attachment!

Do you want to shout out any musical mentors that have helped you along the way? How did they help you?

I live with a bass player called Simon Lovelock, over the last 8 years he has been a constant source of support and also has incredible musical knowledge and is always very willing to help over or have a listen to whatever it is I’m making.

Apart from music what else do you enjoy doing?

Carpentry, I like building speakers and furniture. Also lying around in hammocks on beaches or walking in mountains.

What are your upcoming musical plans?

I’m currently promoting my new album “Voices” (mastered by Fat As Funk), then I have a remix album for my sound system in Nepal out sometime. After that, just keep making music!

Any last words?

Where words fail music speaks

Nice. Thank you very much!

“Voices” By Arrival Sound System is out everywhere NOW!

If you make bassy, dubby, slinky, funky music too, try a free mastering taster from Fat As Funk.


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Album Mixing and Mastering – thoughts on how to do it right

In this day of the disposable digital-only single culture, the release of a proper, full album is a thing of beauty. An album remains the best place to showcase your musical works and demonstrate who you are as an artist.

Our album mastering service is where we really demonstrate our skill too. Mastering an album requires subtlety, intuition & a certain sprinkle of black magic that can only come with plenty of experience.

Even if you have a mixture of soft & heavy songs on the album, the end result must make them flow perfectly together, & smooth out any discrepancies between mixes. This must be achieved while keeping your original preferences & ideas in mind.

Highly dynamic, subtle music must be blended flawlessly & sensitively into an understated work of art. By contrast a bass-heavy, banging album needs to hit the listener hard and loud all the way through. The skill comes in minimising the compromises needed on each track to join-up different tracks naturally. A compilation album is the most extreme example of this problem, but most albums have some variation that needs smoothing out.

Be Beyond Binary – Feel The Music In All Stages

Whatever the music needs, an experienced mastering engineer can intuitively make it happen – they must feel the vibe first to know the best approach to master an album!

The best album mastering service is a human expert. Mastering an album is not a “1-size fits all” task that can be properly achieved with technical metering alone. It’s important to trust your gut – where the music is felt.

No A.I. online mastering service (like eMastered or Landr for example) can actually feel music in the same way as you the artist did when creating it – by definition A.I. automatic mastering can only ever see it as digital binary code. Musicians think and feel beyond binary.

A.I. online mastering is getting better, but there’s a big difference between an unfeeling computer algorithm making decisions based only on maths, Vs a human music lover with soul thinking “that 2nd guitar riff is fu**ing wicked – I’ll bring that out!”.

Analogue hardware is another essential part in achieving next-level sound quality across your album. Especially if the track was produced 100% “In the box” as so many are these days, a lovely mastering-grade analog tube EQ for example, can enhance it sweeter than any plugins could, and bring a certain “magic” to the sound that is still not-quite “there” yet with even the best plugins.

Your finished album should sound cohesive, level matched & with appropriate pauses between tracks (or seamlessly if you prefer). Softer songs shouldn’t feel overly pushed, and banging tracks should feel fat and hefty – and most importantly should both sound “right” when played together. This is where experience comes in.

Dynamic range won the loudness wars – celebrate!

Mastering in 2020 is a little different to a few years ago. Physical CD releases are less common every day, and streaming services are using sophisticated auto-volume leveling to even out playback between songs.

This means that trying to max out your tracks to compete for the ultimate perceived volume blast is thankfully no more (although we are fully equipped to max out the volume if you want).

Nowadays, a more dynamic, quieter master will sound punchier and hit harder on streaming services than a super-compressed crunched master. This is a good thing. Most music sounds better with more dynamic range. Also with services such as Spotify Loud, listeners have a certain amount of control over the perceived loudness of playback.

These auto-volume leveling systems are only going to get better, so it really makes sense to master your music for ultimate sound quality for your individual album, not just maximum volume. We recommend this approach, and will finish it the modern way unless you ask us not to – if you have other ideas, we are happy to oblige you.

Pressing Vinyl Or CD?

It’s important to finish the album slightly differently for a vinyl press run too, so the vinyl version translates well in keeping with the version finished for digital. There are a few key differences in the mastering finish if it’s going to be pressed on vinyl to avoid problems with the cut, and make it sound great. Often using masters that have been finished for digital use will lead to a less dynamic vinyl cut, and not “kick” as hard as you’d hoped. We recommend getting dedicated pre-vinyl optimised masters in the same session (for only £10 each).

If you are having a CD run made, you can then optionally deliver a DDP file to the pressing plant. A DDP is like 1 special zip file with everything needed to make a CD, with all your ISRC codes, credits and title metadata embedded. This is not essential, but some pressing plants request them, and it is the neatest, most secure way to deliver your album.

Let’s Go Far Out For A Moment

Loz (our mastering engineer) is a zen practitioner and generally esoteric chap. He uses barebow archery, meditation and other ways to clear his headspace when the computer gets too much, and comes back to the job with fresh perspective and clarity.

We feel this gives us an edge which, in our opinion, helps make us one of the best mastering services around (especially when you consider our highly competitive rates). These visceral approaches really come into play when finding the correct natural point in an album to start work from, and in the final levelling and “tying it all together” thus making the final result flow together beautifully (spoiler alert: you can’t just rely on a LUFS meter to level out an album properly).

Trying not to be too much of a hippy about it, but perhaps music is a tangible expression of the living, all-connected energy of the universe, and when musicians are totally buzzing during a recording, they are channelling that energy during their flow state – reflecting their synergy with the universe at that time. That’s when a track turns from good to awesome.

When the hairs on your neck stand up and you feel your blood run cold from hearing your great new song on a fresh head, or you just know that this take is “the one” while you’re recording it – that’s what I’m talking about. That’s what needs to be channelled during mastering an album. Why throw all your magic to an A.I. tech company’s cash-cow, (essentially just running your music through a meter-adjusted plugin preset chain) just to save a small amount of money right at the end of your creative process – one of the most crucial stages. Get a human expert instead who can feel your music.

Fat As Funk – Est. 2006. – Album Mastering Experts

Fat As Funk offers great rates on album mastering, & you can order with confidence knowing that your carefully crafted studio mix will stand up as a complete work you can be proud of.

You can try our online mastering free. Upload your track today for a free stereo mastering demo!

If you want to test our stem mastering before committing to a full analogue mix+master, you can buy some stems and try it at a greatly reduced cost! (Stem mastering is like a mini-mix+master).

We usually hit the sweet-spot first time, but rest assured that if you feel any adjustments are necessary, we will gladly tweak our work for free. We insist on our clients being thrilled with their masters, as we want you to tell your friends how pleased you were with all aspects of our work. If you’re happy with your album, we’re happy.

We would love to transform your recordings into a record! Try us today and level-up your sound!


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Online mastering free sample: get free track mastering on your mix!

Humans are the natural choice to master your music – A.I. bots are getting better all the time, but they can’t feel the rush of a hot performer, or the anticipation of a bass drop. An A.I. bot will never shed a tear when the violins rise up, or a surge of energy deep within them from a wicked riff. You can… We can.

Mastering bots don’t have the soul that your music does. Hire a human for this crucial last stage.

You can try online mastering for zero cost (from a human expert), with no obligation to buy. We want to make your music sound amazing.

There’s nothing to lose, and the potential to make your music sound nice and expensive, for free!

Get tasty offers, info and freebies

If you sign up for our mailing list then we have some welcome offers for you.

Continue reading Online mastering free sample: get free track mastering on your mix!
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How to prepare a track for mastering: tips from a mastering engineer

One of the most common questions we are asked is “how do I prepare a song for mastering”. It’s an important stage to get right, as the quality of audio going into the mastering chain makes a big difference to the final result of the master.

When you’re looking for the best song mastering services, it helps even the best mastering engineer if your mix arrives nicely prepared. What if you have lost the project file & only have a rough mixdown? We’ll explore that scenario too.

Continue reading How to prepare a track for mastering: tips from a mastering engineer
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Fat As Funk – streetwear & lifestyle merch now available!

Show the world you live a Fat As Funk lifestyle with our dope new range of apparel. We have fresh designs for mens streetwear and womens streetwear. Ideal for chillin’ in the studio or around town. Worldwide shipping!

Continue reading Fat As Funk – streetwear & lifestyle merch now available!
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Mastering your DJ Mix : the next step in becoming a djay pro!

Now there are more opportunities than ever to become a professional DJ – and it’s a more crowded market than ever before because of it!

So how do you get your mix to stand out to listeners, booking agents and promoters on common platforms like Mixcloud, Soundcloud, Spotify etc ?

There are so many other factors in DJ promotion (a great website, building a busy live gig schedule, a robust social media strategy, networking at conferences, making a DJ remix for other producers, keeping your DJ equipment in top form) that it’s possible to overlook a process that can take you to the next level where it counts – the end listener.

Mastering” is the process of making a recorded piece of music sound slicker, fatter and louder, with a sweeter tone than before. Mastering turns a recording into a record! Every commercially released track you own will have been professionally mastered.

DJ Mixes sound better when they have been properly mastered too. All the classic commercial mixes will have been mastered before release. That’s why they sound so slick!

Continue reading Mastering your DJ Mix : the next step in becoming a djay pro!
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“hottest record in the world right now” mastered by Fat As Funk.

Honoured to have mastered “prayer” by Prospa on Stress Records, named by BBC Radio 1 Annie Mac yesterday as her hottest record in the world right now. It is a banging tune, I urge you to check it out:

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Mastering professionally for 12 years!

Time flies. Fat as Funk is 12 years old in a couple of weeks. A lot has happened.

We were one of the very first to offer free mastering tasters back in 2006, and since then have had the pleasure of working on over 10,000+ tracks! We’ve seen the rise of some of our regulars from small indie labels & producers to major players in the music game.

We were the first (I think) to offer full mix evaluations, which has been a really useful service for producers amateur & professional alike.

Continue reading Mastering professionally for 12 years!