Professional Remote Audio Mastering for Artists, Producers, and Record Labels Worldwide

Hook and Loop Audio offers dedicated remote audio mastering services to clients globally and proudly serves our local region, in the Southsea and Portsmouth area. The studio works with independent artists and labels worldwide, offering the same level of detail, precision, and commitment regardless of project scale or genre.

Drawing on decades of musical insight and led by mastering engineer Phil Crow (often credited under his social media handle, 'filcro'), Hook and Loop Audio provides carefully tailored masters designed to translate across all formats and playback systems. My approach goes beyond technical specification; it is rooted in a deep musical insight and a passion for achieving the perfect emotional impact.

I believe a great master should enhance the artist's vision, delivering the optimal balance of dynamics, clarity, and punch without compromising the music's original character. This dedication to the musical goal, combined with technical precision, is what defines my work.

If you'd like an informal chat about your project or have any queries about the mastering process and what it entails, please get in touch. Whether you're a major label worldwide, or an artist seeking a mastering engineer in the Southsea or wider Portsmouth area, you can email me at contact@hookandloopaudio.com

• Single track: £30
• EP (3-6 tracks): £25 per song
• Album (7+ tracks): £20 per song
• Stem mastering: Contact for pricing

Payments are securely processed via PayPal.
All prices are in GBP and are subject to change. Pricing last updated: **October, 2025**

Flexible Rates
Flexible rates are available for artists working with limited budgets. Please contact me to discuss. I understand that every project is unique, and I'm happy to find a solution that works for you.

Revisions
The initial mastering fee includes a single revision to address your feedback. Any further revisions may be subject to an extra charge, though small or simple changes are often provided at no additional cost.

To get things started, we'll discuss your project, what your desires are for the final outcome, turnaround times, as well as any issues you've encountered with your mix and how we might work around those.

We'll also discuss any reference tracks, albums or artists that you have in mind - typically these would relate to the type of sound you're going for and how your mixes or the mastering process might help you achieve those goals.

You'll be provided with a secure upload link to upload your file(s), although you're free to provide a link to your hosted files, should you prefer. At this stage, your files will be checked to make sure they're ready for mastering. I may suggest tweaks at this stage regarding level or EQ adjustments if need be.

Once payment has been received and delivery times have been agreed upon, work will start on your audio files with the aim to provide the final masters within the agreed timescale.

Which file format should I send for mastering?

Please send high-quality unmastered stereo files (e.g., WAV, AIFF) at a sample rate of at least 44.1 kHz and a bit depth of 16-bit, though a 24-bit or 32-bit floating point file would be best. The higher the resolution, the better!

What peak level should my mixdown have?

For 16-bit and 24-bit files, please leave plenty of headroom on your mix. For safety's sake, a peak level of -3dBfs or lower is usually recommended - the final volume level of the track is usually set during the mastering process, and it's always 'cleaner' to start with plenty of headroom.

While rendering your final mix, you may see your meters warning of intersample peaks (ISPs) hitting or exceeding 0dBfs - if you do, reduce the level until you see those peaking below 0dBfs.

For 32-bit floating-point files, the peak level is less problematic, as the dynamic range afforded by this format means peaks above 0dBfs are less of a concern during processing as signals above that level will not be clipped during the mixdown render.

Should I use a limiter on my final mix bus?

There are times where creative limiting on the master bus may be crucial to reach the effect you're going for, but do keep in mind that this may lead to compromises with dynamics if the mix is excessively brickwall-limited. If you're unsure, it may be best to leave limiting until the mastering stage.

On the topic of maximizing volume, the balance of your mix also affects the perception of loudness. For example, a mix that is light on midrange frequencies may sound quieter, even with a high average level. While a mastering engineer can help to mitigate these issues, they're best addressed first in the mixing stage by balancing instrument levels or with appropriate EQ adjustments—or even with the careful use of saturation or a soft clipper.

If you've been using a limiter for pre-master checks or making loud copies of your mix to listen to before mastering, don't forget to turn it off or (even better) remove it before rendering. If you choose to do this, a good approach is to render your final mix and keep it safe as your master mix file, then open that up in a new project and then engage your limiter. This ensures you're not accidentally leaving unwanted processing in your final mix project.

What is your typical turnaround time?

I typically aim for a turnaround of 3-5 business days for singles and EPs, starting from the time I receive the final payment and files. For full albums, turnaround time will be agreed upon during our initial discussion. If you need a faster delivery, please let me know, and I will do my best to accommodate rush requests.

What delivery formats will I receive?

You will receive the final master in high-resolution WAV file format, processed with dynamics and loudness levels suitable for all major streaming platforms (Spotify, Apple Music, etc.), ensuring the best possible sound quality regardless of the service's loudness normalization. This file is your definitive master for both digital distribution and archival. If needed, you can request alternative formats, such as MP3s or files prepared for physical media manufacturing.

Why don't you have photos of a large mixing console or outboard gear?

Hook and Loop Audio operates a dedicated "in the box" (ITB) mastering workflow. Modern digital tools offer unparalleled sonic precision, perfect recall for revisions, and the lowest noise floor possible and I prioritize my expertise and high-end software processing, not physical hardware that unnecessarily increases costs and introduces potential noise.