24 MusicWeek 13.04.12 FEATUREMASTERING&POST PRODUCTION
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‘This double-whammy of the two biggest brands iarea, with eMarketer forecasting that such
revenues will grow from $856m (£534m) in 2010 to $1bn (£0.62bn) this year...’ NAME SURNAME, COMPANY
production, with artists such as Faithless, Wretch 32, Amy Winehouse, Chipmunk, Matt Cardle, Alexandra Burke and Mark Ronson making use of its facilities. Sensible Music has also been recognised for its post-production work on Example’s Playing in the Shadows and Jessie J’s Who You Are, both of which are now platinum selling albums. Having been in the business for the best part of
30 years is London-based Masterpiece Mastering, with a facility boasting three studios designed to handle all aspects of mastering. The company’s services have been in high demand of late, with both Noel Gallagher and Wiley utilising its mastering capabilities for their upcoming projects, while Tulisa has recently dropped in to work on her latest single We Are Young. In addition to the aforementioned
contemporary works, Masterpiece Mastering was also behind a host of classic vinyl re-releases, which have been at the centre of substantial growth for the company, from such acts as The Wedding Present, Black Sabbath and Phil Manzanera. Another major player in the mastering and post
sector is Streaky Mastering, which was opened back in 2008 by Streaky himself. Since his days as a professional DJ in the days of Acid House, Streaky has gone on to become a key figure in the industry, with an impressive client list resulting from his
ABOVE Master plan: Tulisa worked on her latest single at Masterpiece Studios
ABOVE Sense and Sensibility: Artists including Wretch 32, Chipmunk, Matt Cardle, Alexandra Burke, Mark Ronson and Example have all made use of Sensible Music’s studios (top)
mastering credits on such albums as Death In Vegas’ Scorpio Rising, Asian Dub Foundation’s Enemy of the Enemy and The Duke Spirit’s Roll Spirit Roll EP. Other notable albums include 5.1 Surround Sound albums for Kasabian, Moby, Erasure, Depeche Mode, Dave Gahan and Martin Gore. In 2004 Streaky launched eMasters, an online
mastering service aimed at independent producers, musicians and record labels, with Streaky at the helm as chief mastering engineer. This marked the first occasion that a leading mastering studio in Europe had provided a fully online approach to professional mastering. Subsequently, he then went on to open Streaky Mastering, which has mastered platinum albums and No.1 singles for Taio Cruz, Chipmunk,
is London-based Alchemy Mastering. Its facility offers three expert mastering engineers,
each having amassed a minimum of 25 years hands on industry experience. The studio deals in all aspects of mastering, and has recently completed a host of high-profile projects for the likes of Rizzle
Kicks Stereo Typical for vinyl, Nicki Minaj, Paul Weller, Erasure, Florence + The Machine, Noah And The Whale, Fixers, Adele (live), Bombay Bicycle Club, Ed Sheeran (live), Cee Lo Green (live) and Friendly Fires (live). It certainly appears to be the case that this
“The ever-increasing output of live performance CDs and DVDs shows no sign
of abating. Look no further than the success of Adele’s Live At The Albert Hall as an indicator of how this market has grown”
persistent stream of remastered editions of popular works has contributed significantly in drawing the attention of the music industry at large to the art of mastering. A clear example of this can be found in the case of the Music Producers Guild (MPG) which has gone on to develop its very own mastering section under the MPG Mastering Group title in order to help bolster the mastering community.
With such emphasis now being placed on this
Skepta and Groove Armada. Also enjoying good business at present
most vital of processes, artists and musicians are becoming increasingly aware of just how crucial it is to commit the necessary time and funds into producing a professionally mastered piece of work, while those directly involved in the world of mastering and post continue to do good business in a time when vast sections of the industry remain blighted by the precarious state of the global economy. And what with the remote online mastering boom, the sector looks set to expand even further in years to come.
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