Our clients repeatedly say the same thing: The SING master is a better sounding, more energetic and more balanced sounding master. I have two main goals. My first goal is to make your music sound as good as possible by using the latest in A/D-D/A technology, some of the finest customized and hand picked analog pieces and by listening. Having the proper room and monitoring system to hear what is actually happening to make the correct decisions is paramount. My processing is done almost exclusively with analog equipment outside the box (not in a computer workstation with plugins). Plugins have their place, and sometimes they are good for fixing problems in a mix but normally they don’t sound as good as high quality analog equipment while mastering.

When mastering with proper analog electronics there is more headroom, which allows the natural dynamics and transients from the mix to carry over into the master. My second goal is to make sure you are completely satisfied with the product and customer service. I will work with you on your original mixes until you are satisfied, and at no additional charge. I have never charged for adjustments or tweaks, although I am rarely asked to make them, and I am always accessible for 1 on 1 conversations with clients about mixes and masters on the phone or in person at our facility in Atlanta. We have a beautiful facility and love it when our clients come in for mastering sessions, so if you can make it we would love to have you!

I believe mastering should be approached in the same way as playing an instrument or singing a song. If you sing a song and you don’t feel the song or connect with the song you are singing, the performance is not going to be as strong, and the audience has the ability to detect that lack of energy and engagement. Audio Mastering is much the same way. Feel is more important than technicality. If there is a technical problem in the mix and it cannot be fixed without the loss of feel and vibe, then it’s not really a problem. There are no rules in music and sometimes the right thing musically is the wrong thing technically and when that is the case, musicality wins. What is not done during the mastering process is many times more important than what is done.

Mastering Engineer Colin Leonard

With fifteen years of engineering experience, Colin Leonard, Chief Mastering Engineer, has amassed an impressive list of clientele. Most recently, his technical innovations in the mastering studio allow him to keep more transient energy and feel in a master while keeping levels competitive with any given genre. His credits include: Leona Lewis, Justin Bieber, Icona Pop, Kimbra, Cash Out, Paulina Rubio, Ruben Studdard, Wale, Indigo Girls, Waka Flocka and Gucci Mane. From 2008-2010 Colin served as a Governor of the Board of Directors of NARAS, the governing body of the Grammy’s. Colin continues to be part of the audio community as a voting member of the Grammy’s and as a member of the Grammy’s Producers & Engineers Wing.

Colin has focused his career on delicately balancing the creativity of music with the art and science of mastering. While studying classical guitar at University of the Pacific in California, Colin’s interest in audio engineering grew. After two years he shifted his focus and changed his major to engineering. Since that move Colin has excelled at perfecting and creating new analog and digital mastering techniques and processes. Colin is constantly working on new innovations and technologies to master audio. Colin Leonard has multiple patents pending and uses cutting edge technologies that he has invented and uses on a daily basis. As well as mastering inventions, his latest innovations include new hearing aid and in ear monitor designs for the audiology industry. Colin also consults for numerous professional audio facilities, including conducting seminars on dynamics and loudness control techniques for the 20+ audio engineers at Turner Studios.