Why “Small”?

It is not that the space itself is limited; on the contrary, the size of the Small Mastering Studio is both respectable and appropriate. The term is rather used to define a space where work is performed in a more casual fashion, beyond the constraints of business and competition.

It is used to evoke a sense of modesty, moreover, out of respect for those whose studios and craft have been inscribed in the history of this art and who are the guardians of a tradition that is perhaps being lost today—one in which we draw our inspiration.

And finally, to evoke the underlying tension inherent to the term itself, as well as to the very practice of mastering and its engineering: indeed, the mastering engineer is he who proclaims himself as such and is able to demonstrate it aptly. The necessary relationship between mastering and electronics, acoustics, psychoacoustics and the countless hours of attentive listening—all fundamental aspects of the work—make the one who practices this art and science[1] an atypical professional figure, one sensitive to music and to its reproduction.

The Small Mastering Studio is thus a hybrid between a laboratory and a workshop (that of a painter or a sculptor, for instance) where sonic material is appreciated with sensibility in order to be brought to its full potential, and ultimately exposed in this fashion, in complete respect of technical standards as well as in compliance with the wishes and desires of the client.

[1] We refer here to Bob Katz, Mastering Audio: the Art and the Science.