Audio mastering for artists and producers who want their music to sound right on every system.

I provide remote mastering for independent artists and labels worldwide, as well as clients in Southsea and the wider Portsmouth area. Every project is approached with the same level of care and attention, whether it's a single release or a full album.

I’m Phil Crow (sometimes known as filcro), a mastering engineer with decades of experience as a musician. My approach is both technical and musical, and I enjoy working closely with artists across multiple releases, helping refine their sound from mix through to final master.

Mastering isn't just about hitting targets, it’s about how your track feels, how it translates, and how it connects with the listener. A great master enhances what’s already there: adding clarity, punch, and balance, without compromising the character of your mix.

If you’d like a quick chat about your project or the mastering process, please get in touch at contact@hookandloopaudio.com.

Not sure if your mix is ready? I’m happy to take a quick listen and offer honest, practical feedback. Sometimes a small mix adjustment can make a big difference to the final result, and I’ll always tell you if I think something is worth addressing before mastering.

• Single: £35
• EP (3–6 tracks): £25 per track
• Album (7+ tracks): £20 per track
• Stem mastering: from £70 per track (available for selected projects)

If you’re unsure where your project fits, feel free to get in touch and we can discuss what works.

Includes:
WAV masters prepared for all platforms.

Revisions:
The mastering fee includes a single revision to address your feedback. Any further revisions may incur a small charge, although minor adjustments are often made at no extra cost.

Payment:
Payments are securely processed via PayPal.

All prices are in GBP and are subject to change. Pricing last updated: February 2026.

To get things started, we’ll discuss your project, your goals for the final outcome, and turnaround times - plus any mix issues you’ve noticed and how we might address them.

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 for your file(s), although you’re welcome to share your own hosted link if 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.

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 as a high-resolution WAV file, prepared for reliable playback across all platforms and formats. This file is your definitive master for both digital distribution, physical media and archival. If needed, you can request alternative formats, such as MP3s or files prepared for physical media manufacturing.

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.

How I work

I use a fully in-the-box mastering workflow, combined with accurate monitoring and high-quality conversion. The focus is on precision, consistency, and decisions that translate well across real-world playback systems - not on how the studio looks.

What matters is simple: how your music sounds.