Mastering for Funk Music
Quick Answer
Mastering for Funk Music is the process of preparing a funk album for distribution by using various forms of acutely implemented audio processing. When a Funk mix has been mastered, it sounds impressive, dynamic, and balanced enough to playback on any consumer-grade equipment.
Mastering for Funk Music
When funk music first arrived in the 1960s, mastering it properly was a challenge. Engineers had to use the limited technology of the time to try and adequately prepare funk records for distribution.
Mastering funk music can be a challenging but rewarding process.
Granted, a lot of these records sound fantastic and are still closely emulated today in modern funk masters.
That said, the technology available today, be it modern analog hardware or increasingly complex and powerful digital processing, has made mastering funk music easier, and more readily available to more engineers.
With that in mind, let’s cover some of the key aspects of mastering funk music.
We won't be covering the full process, but, will delve into some very important aspects and steps of mastering Funk music.
Although we won’t cover the entire mastering process , or provide a step-by-step for how to master songs (although we do have this type of blog post available if you’re looking) we’ll delve into some of the aspects of mastering funk music that are unique.
We’ll consider the aspects of Funk music that make it unique, and how that translates to mastering.
Additionally, we’ll cover specific forms of processing such as compression and expansion, harmonic generation, limiting, as well as some techniques like parallel compression.
But first,it may help to consider what the ultimate goal is when mastering funk music. This way we can better understand how and why processing gets implemented the way it does.
What is the Goal When Mastering Funk Music?
When mastering funk music, the mastering engineer’s goal is to create a sound that is cohesive and glued together, yet maintains its spaciousness, dynamic impact, and transient detail. Balancing these two seemingly opposite elements can be difficult, but it is necessary when mastering funk music.
A good Funk master retains dynamics while still creating a cohesive sound.
What Makes Funk Music Sonically Unique?
Funk music is comprised of primarily percussive elements - the bass, guitars, or other instruments that are typically used melodically, work in tandem with the drums and percussion. With that in mind, funk music is heavily dependent on the precise timing of all instruments used in the composition.
The percussive aspect of the music can be emphasized during mastering , by introducing specific compression, limiting, and equalization settings.
Almost all aspects of a funk composition as percussive in some manner.
Now that we have a better understanding of what makes the genre a unique one sonically speaking, let’s cover the different aforementioned forms of processing.
How to Equalize a Funk Master
When using equalization on a funk master, it best to affect frequencies that emphasize the percussive nature of the mix.
Some of these changes will be additive and some will be subtractive.
Although the exact frequencies you affect will depend on the mix, there are some good starting points for your equalization.
For these examples, you’ll need to use a mid-side equalizer.
The first thing to do is ensure that the bass and kick are mono or in the center image. This can be accomplished a few ways but this is the easiest method I know of.
Using this method offers an incredibly easy way to make the low-end mono.
Using a mid-side equalizer,create a high-pass filter on the side image, and place it around the 130Hz point. This will attenuate any frequencies on the side image that are lower than this point.
Essentially, this will accomplish a mono low-frequency range, causing your kick and bass to be powerful and centered.
This also separates these frequencies from other ones in the side image, adding clarity and punch to your master.
The clarity of the low-end information in a funk mix is incredibly important because again, the percussive aspects of a funk track need to be upheld. By making these elements mono you ensure that they aren’t masked by other frequencies and instruments.
Use some more attenuative bands to reduce masking and add clarity to your master.
Using a critical ear, you can use this same method for other frequencies in your master. Attenuate aspects of the side image to see if it causes masking to anything in the mono or mid image, and vice versa.
This way you can prioritize certain aspects of the mix and decide which frequencies are most prominent.
How to Compress a Funk Master?
When compressing a funk master it's imperative that the transients of the mix are retained - this is accomplished by using specific attack and release settings. Furthermore, it helps to set these attack and release times to be in tempo with the track - this can be accomplished with a simple formula.
Compression levels out dynamics and should be used carefully.
So what does this look like practically?
You can see on a compressor that you have various settings, including but not limited to the threshold, ratio, knee, lookahead in some compressors, and some other features.
Notice the attack and release functions - both of which play a large role in shaping compression's timbre.
You also have two functions called attack and release. The attack determines how long it takes before the compressor will begin to compress the signal that crosses the threshold.
The release determines how long the compressor will hold onto the signal after the signal has crossed the threshold.
With that in mind, the attack and release can really affect the transients of a mix, and in turn, the timbre and clarity of the mix. For example, a short attack and long release mean that the compressor will compress sooner, and for longer.
A fast attack and slow release will result in more compression and smoother but less detailed sound.
This means that any transients like the snare, the kick, toms, or maybe the pluck of a guitar - basically any percussive instrument or aspect of the mix will be compressed and attenuated. As a result, it will be less perceivable and will detract for the overall percussive nature of the mix.
That’s why it’s best to use a longer attack and shorter release time when applying compression to a funk master. Because the compressor takes long to begin compressing, the transient can pass through unaffected.
Use a longer attack and shorter release to retain your master's dynamics.
Additionally, because the release time is short, the compressor does continue compressing long enough for other transients to become attenuated.
With a longer attack and shorter release, you’ll maintain the dynamics and transients of a funk master , while still contributing to a collective and cohesive, or glued together sound.
As we’ve covered previously, the percussive nature of a funk mix is something that needs to be upheld. With that in mind, the attack and release settings of a compressor should be set to be in time with the tempo of the track.
When this is accomplished, the actual compression and attenuation will become musical, in turn adding to the musical and percussive nature of the instrumentation. It’s a seemingly subtle change but one that truly augments the musicality of a master.
In this example, I divided 60000 by 119.
Some compressors have a built-in ‘sync’ or ‘in time’ function, but if yours doesn’t, simply divide 60000 by you BPM, and you’ll have the time of a quarter note in milliseconds. Use this time, and divisions or multiples of it, to set the attack and release of your compressor.
If you want to learn more about compressors, and how they can be used creatively to fix issues in mixes and masters, check out a video and blog post on the topic:
In it, we cover our picks for 5 great compression techniques.
The same can be said for expansion
Sometimes you’ll receive a funk mix that’s too compressed. When this occurs you definitely don’t want to compress any further; however, you can use a similar form of processing called expansion.
Expansion can be thought of as the opposite of compression - all the settings are identical, except instead of attenuating the signal, an expander amplifies it.
If you find that your funk mix is too compressed and you can’t alter the mix in any way, use frequency-specific expansion to make the kick, snare, and vocal pop more.
Simple set the threshold, and ratio as you normally would. Then use the same attack and release settings as before - preferably ones that match the tempo or BPM of your track.
Then create a range for the expansion - this is how much you’re allowing the signal to be expanded. Expansion greater than 3dB shouldn’t be used unless the track has been severely compressed.
How to Add Harmonics to a Funk Master
Adding harmonics to a funk master is a crucial part of creating a full and complex sound - one that translates well to consumer-grade playback equipment. To add harmonics to a master simply use an analog emulation plugin for a good sound, or use analog hardware for a great sound.
Analog processing creates the most complex harmonics.
Truth be told we may be a little biased when it comes to using analog hardware over digital processing (both are great don’t get us wrong) however; analog equipment does provide more complex and unique harmonic generation.
The reason being, all of the minuscule nuances that make hardware unique cannot be coded into plugins - at least not as of yet.
That being said, if you’d like to hear the effect analog hardware will have on you funk mix, send it to us here for a free sample:
We’ll master it for you using solely analog equipment so that you can review the difference for yourself.
Regardless of whether analog or digital processing is more suitable for creating funk masters, you can still use digital processing to create some great sounding harmonics that improve your master.
Again, simply insert an analog emulation plugin on your mix to create these harmonics.
The Harmonics Analog Saturation Processor is a good substitution for analog processing.
Some plugins are better suited for this purpose than others - one example being the Softube Harmonics Saturation Processor , which offers multiple harmonic formations, a dynamics section, and some more functions that allow you to hone in your distortion.
The FabFilter Saturn is capable of creating complex harmonic generation.
Another personal favorite is the FabFilter Saturn , which can be used for a multitude of purposes, but is primarily designed to emulate various amps. To my ears, this is one of the best analog emulation plugins available.
Be sure not to drastically distortion or saturate a signal.
If you’d prefer not to spend the money on these plugins, check out a list we created showcasing the best free saturation plugins:
We detail each plugin’s functionality as well as listen to the plugin in use.
Be sure not to use saturation and harmonic generation plugins excessively, as they can compress the mix, and may cause noticeable unwanted distortion is driven too much. As with most things in mastering, use your ears and think critically about how the changes you’re making affect the master.
How to Apply Limiting to a Funk Master
When applying limiting to a funk master, it’s alright to push the signal a little bit, but excessive attenuation and brick wall limiting should definitely be avoided. Aim for 3dB of attenuation, and hopefully less if the right amount of compression was used earlier on in the signal chain.
You can push a limiter slightly but be sure not to do so significantly.
Limiting is often an area of contention amongst mastering engineers. On one hand, it allows the master to become powerful enough to play on consumer-grade equipment without the need for that equipment to be significantly amplified.
Excessive limiting causes severe unwanted distortion and ruins the dynamics of a recording.
On the other, it can cause unwanted distortion, ruin dynamics, and affect the tonality of a master in a negative way.
Despite some of its drawbacks, there are safe and reasonable ways to use limiting. If a limiter is used cautiously - that is, without much gain reduction, then the dynamics and tonality should remain intact.
Use attack and release settings that align with the tempo of your track.
When it comes to mastering funk music, retain the dynamics means retaining the percussive aspect of the music. To do so, use attack and release times similar to what you used on your compressor.
That is, use times that are in tempo with your tracks BPM, and utilize a longer attack and moderately shorter release.
If an algorithmic section is available, find one that emphasizes dynamics.
Additionally, you can use a limiter than has algorithmic settings - some of which are perfect for retaining dynamics or punch in a recording.
How Loud Should my Funk Master Be?
A funk master’s loudness will depend on the medium to which it is being distributed, but if intend to release your music on streaming platforms like Spotify, an integrated -14 LUFS is a good starting point. To find this metric, use a LUFS or loudness meter.
You can use a loudness meter to determine the loudness of your master. Place this at the end of your signal chain.
If you’re in doubt as to where to find one of these meters, your DAW will most likely have a free one titled Loudness Meter.
How to Use Parallel Compression on a Funk Master
Parallel compression is a fantastic tool for taking to quieter aspects of the signal and pushing them into more perceivable territory. When mastering funk music, you can increase the detail of the master by subtly introducing the parallel compressed signal in with the original and unaffected signal.
To do so, follow these simple steps:
Step 1: Create a bus send for your stereo mix’s track. Set this send to unity or 0dB.
Create a bus and send the signal to an auxiliary channel.
Step 2 : Insert a compressor on the parallel auxiliary channel, and heavily compress the signal. Be sure to use a longer attack and shorter release to preserve dynamics.
Insert a compressor you like the tone of and compress heavily.
Step 3: With your signal compressed, slowly blend the compressed signal back in with your original unaffected signal. This way you can create a balance between your dynamic signal, and the heavily compressed, low-level signal of the parallel compression.
Slowly blend the heavily compressed signal back in with your original signal.
Essentially, by lowering the peaks of the signal by using severe compression, and then amplifying the entirety of the amplitude, you increase the quietest parts of a recording.
When performed correctly, parallel compression increases quieter aspects of the recording.
This will make a funk master sound fuller and more complex, as aspects of the mix that would have normally been mastered are made more perceivable.
If you’d like to learn more about parallel compression and how you can use it to improve the sound of your mixes and masters, then check out our blog post and video on the topic:
It's full of great information on the routing and general premise of parallel compression.
Conclusion
Mastering funk music is a challenging but rewarding process. When you can create a glued together sound that still retains its dynamics, transients, and percussive impact, then you know you’ve created something worth releasing.
Although the process may seem daunting at first, remember to use your ears critically. Additionally, if you think you’re using too much processing, odds are you’ve introduced too many effects or have used these effects to too great of an extent.
Be sure not to follow our guide exactly, as your unique mix will call for different settings.
If you find yourself in this position, dial back some of your settings or perhaps remove a form of processing altogether.
This holds especially true with compression and limiting. Because funk music is such a percussive or beat and groove focused genre, removing transient detail and dynamics is a surefire way to mess up a good mix.
Always ask yourself if the compression you’re using is needed, or if the master truly needs to be loud if it results in lacking dynamics.
If you’re in doubt as to how to master your funk mix, simply send it to us here and we can take care of it for you:
We’ll master it for you and send you a free mastered sample for you to review.
Do you make Funk music?
Ready to make your mixes sound 10 times better, 10 times faster...
You're literally one step away from 10 times better sound.
The best part is... it's risk-free, if we can't make your mixes sound 10 times better, you don't pay for it.
START NOWREAD OUR REVIEWS
Review by Joel S.
If you're looking for great mastering, Sage is where you need to be. I've been working with Sage for years - they do an amazing job and are really easy to work with.
They actually care about your project and want it to sound its best just as much as you do. I'm always excited to get a song or project back from mastering. I've tried many mastering companies, and Sage is by far the best.
If you're serious about your music, it's worth checking them out; you won't be disappointed - they make your mixes sound balanced and professional.
They also offer mixing feedback to help improve your mixes and mixing and mastering education courses to help improve your sound. Shout out to Sage Audio! you can't go wrong - like I said, if you're serious about your music, this is your studio.
Review by April K.
I've been getting my masters done by Sage Audio for the past 4 years now, and I've tried multiple places in my 15 years in the music business. Sage Audio is the only one that has given me the quality I love!
Their mastering membership is an excellent deal for anyone looking for professional mastering and full customer service. Also, I never had an issue with submitting new mix versions for remastering or asking for too many revisions - they have always been very respectful about remastering new mixes and making any adjustments I wanted. I'm staying with Sage, no need to look further! Best masters out there!
Review by Justin G.
Sage Audio is by far the best audio engineering company I've found. I've been with them for 8 years, and it's clear that they set the bar high in regard to mastering services. Their online platform makes it easy to upload tracks and communicate directly with your own dedicated mastering engineer, and their customer service is excellent.
Overall, the sound achieved by Sage Audio engineers is awesome. Their mastering brings out the best in each track - improving clarity, depth, and impact - and they focus on crafting personalized masters that are specific to your needs.
Another thing that sets Sage Audio apart from other mastering services is that the mastering is actually done with your dedicated mastering engineer and not some sort of AI software, and you get full customer service and feedback on your mixes too.
Their commitment to delivering top-tier mastering while maintaining consistent communication shows how much they care about their clients' music. For anyone looking for a personalized online mastering that combines top-level quality with excellent customer service, look no further than Sage Audio.
Review by James T.
The engineers at Sage Audio could not have made my first commercial audio experience any better! Every time I emailed to get a question answered, I worked with the same person consistently.
They know what they are doing; after listening to my masters on numerous systems, I heard my music in a whole new light. My bass and kick were tighter, not muddy, and hit with the "grit" that I intended. My mids and highs were clear, vibrant, and presented well on all stereos and devices.
I could have never achieved this level of quality without their diligent minds and professional know-how! If you are looking to get your project up to a commercial level while meeting a budget, Sage Audio is the place to go!
Review by Rebecca D.
Sage Audio is by far the best mastering service! They are the most professional, kind, and loyal people. Every song they mastered was spot on!
For artists looking to have their music mastered, they have an awesome and affordable mastering membership and are dedicated to making every mix sound like a professional master. Thank you, Sage Audio, for transforming my music!
Review by Daniel S.
The last ten years of my audio mixing career have been plagued by frustration, self-doubt, and compulsive shopping for magic game-changing plugins that can fix my poor mixes... guess what... it was all wasted time and money; I was shooting in the dark.
Until now.
I had heard about Sage Audio a long time ago, but at that time, their pricing seemed too expensive - how wrong I was.
Firstly, there is no substitute for hard work; you must do your part; what this service gave me was perspective - what's different about this master from my own? why? what am I missing? how can I improve my final mixdown in order to get the best possible master?
The included courses are really useful and well explained, but to me, the real power is the community of engineers offering their feedback; there's nothing like a second set of ears, or a lot of sets of ears! Getting other engineers' advice is priceless, and fixing common problems suddenly became very simple.
The best part is that I have made a bunch of mixes on my own now and am starting to get incredibly good responses - my confidence is up, with no additional plugins, no new DAW, not even new monitors.
I've been a Sage Audio member for about 9 months now, and all services are excellent. The 1-on-1 mixing feedback is incredibly helpful, and the professional community is way more active than I could have imagined. I'll be here for the long haul. So, if you're ready to take your music to the next level and change a lot of misconceptions, this is your place!
Review by Thomas E.
I am a musician and songwriter with decent recording skills, but I could never get my final mixes mastered to where the EQ, volume, and clarity sounded good on all playback systems without distortion.
I did extensive research on mastering and tried expensive studio headphones, but I never quite "mastered" mastering. It was very frustrating and took way too much time away from my music.
Then I found Sage Audio, and it sounded like just the service I needed at a reasonable price, so I joined their membership.
It was a game-changing decision. They always respond quickly and are focused on pleasing their customers. They mastered several of my songs, and they all came out perfect.
One of them took three takes because I had to change some levels and panning, but each time, they said, "No problem, we want you to be 100% happy with the final master."
They even asked for ways to improve their service, and they have a unique service where you can upload your mixes and receive feedback directly from them for improvement. I also found in the community, there are great musicians, singers, and songwriters to collaborate with for future projects.
In summary, Sage Audio has saved me a lot of time and provided great masters for my songs, way better than I could have ever done! I give them my highest recommendation.
Review by Frank B.
I've been using Sage Audio for a while now and have been very pleased with their professionalism and quality of work!
I'm NOT new to the audio production world and have been mixing and self-mastering for over a decade. I've used Grammy-winning mastering engineers as well as online AI-driven mastering services, so I know the full range of mastering services available to artists and their producers.
What sets Sage apart, IMO, and, in my experience, is that they are very customer-centric and will do almost anything to make the customer happy with their work. An example is a recent master I wasn't 100% happy with because it was too compressed for Classical material. They jumped right on it, giving me another more gently compressed master, which I'm delighted with. This was a NO EXTRA CHARGE. I know from experience that this isn't the norm in this industry, where egos prevail.
An example of Sage's superior work is when a client I'm working with wanted proof that it was better than a well-known, low-cost AI-driven mastering service. While my instructions to both Sage and the online service were close, only Sage had a human to interpret some of the instructions. As a result, the Sage master was considerably LOUDER and had more HEADROOM to boot. You can't ask for much more for a Pop song.
In summary, I'd recommend Sage to anyone looking for professional mastering for their upcoming release.
Give them a shot. I'm sure you'll be pleased.
Review by Dan Y.
Sage Audio has been a lifesaver for me. Mastering was my weakest point, and I only wish I could've found them sooner. I have used their services for the last 6 months and have also recommended them to several of my musician friends. Every track I send comes back sounding brilliant.
I once experimented by mastering one of my songs by myself, by another leading mastering studio, and also by Sage Audio. Sage's master was hands-down the best: clear, loud, yet dynamic, and the overall sound was smooth. I can say with 100% confidence Sage Audio is the best mastering service around.
It's also a pleasure connecting with their team on a personal level; they are very attentive to details and respond fast.
Review by Irene F.
I found Sage Audio when I was searching for a company that could master my original songs. My initial email was responded to in less than ten minutes. I explained my situation, then created an account and uploaded my mix for mastering.
I let my engineer know what was bothering me in the song and what I would like it to sound like. In a short time, he sent me a notification email to download the master and asked if it was to my liking.
On first listen, it blew me away, as it contained everything I had asked for, and the sound was vibrant, clear, and, quite frankly, perfect. I've been with Sage Audio ever since - they're so easy to work with, friendly, eager to help, and highly professional. I would recommend them to anyone.
Review by Aaron C.
I first used Sage audio 3 years ago to get an album mastered. I hadn't used an outside service for mastering before, so I didn't know exactly what to expect, but I had learned a lot from the Sage Audio YouTube channel and liked the clear, concise way the videos explained various audio principles, so I felt comfortable using their services.
Not only did the masters sound amazing (dynamic, but still as loud as I wanted), but the engineer answered all of my questions and responded to my emails almost immediately.
To add to that, considering all the services you get with the membership is an incredible deal - it Includes mastering, mixing feedback, courses, and community. It's everything you need, and their customer service is top-notch.
As good as their YouTube videos are, I knew this would be a fantastic resource; as a college professor myself, I recognize excellent instruction, and Sage has a knack for breaking down complex processes and demonstrating how plugins work in concise bursts that never overwhelm the learner.
More importantly, you will come to understand when to use the tools in your arsenal and why to do so. You, thus, are learning how to ask better questions of the mastering engineers that you have access to through your membership, and ultimately, you are being empowered to become an engineer yourself!
Review by John G.
I started using Sage Audio to master my songs about three to four years ago - I wish I had found them earlier. Their mastering makes my mixes sound like professional songs, and they're a delight to work with.
Also, they have a very active community of musicians, producers, and engineers, along with mixing and mastering courses - which have provided me with so much useful information. On top of that, the mixing feedback is excellent, and they continually provide thoughtful suggestions, which I've found invaluable for improving my mixes. It's worth checking them out - you will not be disappointed.
Review by Brandon T.
I had Sage Audio master my last 3 albums, and I plan to use them for my next release too. They do an exceptional job of creating balance and clarity for each project, and they are so friendly and helpful when it comes to answering questions and offering suggestions.
Their experience is invaluable, and they have truly insightful feedback when it comes to mixing and mastering. I have tried other companies in the past and came back to Sage to get that professionally polished sound every time.
Review by Ben V.
A few months ago, a friend of mine recommended I try Sage Audio for my final master's. Being a mix engineer myself, I was hesitant at first due to the fact that in the past, when using online mastering, I found that no engineer would care for the track as much as I would.
Knowing the basic rule that you always want to have another set of ears to master anything you've mixed, I realized I had hit a plateau in how far I could take my final master. To my surprise, Sage and the team took my master's to a level I could not reach, both dynamically and sonically.
I'm a full-time artist who is constantly recording, releasing, and traveling. The burden that the Sage team has taken off my shoulders by being a trustworthy mastering service is tremendous.
They have provided me with quick turnarounds while out of the country to meet deadlines for releases and are understanding & receptive when I request changes after hearing a master, even going as far as to follow up with me, confirming that I am 100% happy with the final master, quoting, "I'm not happy unless you're happy."
Another benefit to Sage Audio is their library of mixing and mastering tutorials. Any good sound engineer knows that there are a million ways to reach a rich, dynamic final mix or mastering and that you're never done learning how to engineer. Sage's courses offer a great refresher on fundamentals and a clear understanding of complex techniques to help push you as an engineer.
Cheers Sage, thanks for the excellent service!
Review by Charlie E.
My writing partner and I have recorded and mixed 2 albums and a few singles, the first 2 albums we did were mastered by a different company. The masters were ok, but from that experience, we developed a better and more critical understanding of the mastering process.
Upon preparing to have our 3th album mastered, we did some research and exploration for other mastering options and found Sage Audio - which is where we had our latest album mastered.
We were both very much impressed with the work, the communication, and the willingness to create the exact sound we wanted for the album. We definitely heard a difference in the mastering - Sage Audio masters are clean, clear, and professional.
On top of that, we really enjoyed receiving mixing feedback, which was really helpful for making adjustments to bring the most out of our mixes before sending for mastering. For anyone seeking true audio professionals, I recommend Sage Audio!
Review by Sam V.
Sage Audio mastering engineers are the best I've ever worked with! I've been an Artist, Songwriter & Producer for over 12 years, and believe me, over the years, I've worked with several studios and countless engineers. But since I connected with Sage Audio, those days are over. I took a chance on something new - sent my first mix to see how it would go, and they didn't waste any time lol, they responded the very next day, and the master I got back far exceeded my expectations.
The level of quality and attention to detail was impressive. It was everything & more than what I hoped for, and now I will never trust my mixes in any other hands. They've quickly become my number 1 go-to-guys for mastering, hands down.
Not to mention, they also give you in-depth mixing feedback to help you improve your mixes before sending them for mastering. You can't go wrong with Sage Audio. These guys definitely deserve all the credit in the world. I would strongly recommend them to anyone out there looking for solid professionals to polish your mix. I can personally promise you, Sage Audio will deliver every time!
Review by Ryan B.
I've been using Sage Audio for mastering my tracks over the past year and a half, and they've been great on every front.
If I need a track mastered within a week, they usually get back to me with a high-quality finished master within a few days, and the cost is negligible compared to what some other studios are charging.
They also have an active community, and their mixing feedback option is super helpful; their suggestions are specific, revealing, and accurate.
I highly recommend them if you're a musician, producer, or mixing engineer who needs that last bit of polish before you release. They're worth every penny.
LISTEN TO OUR SAMPLES
Ready to make your mixes sound 10 times better, 10 times faster...
The best part is... it's risk-free, if we can't make your mixes sound 10 times better, you don't pay for it.
HERE'S WHAT'S INCLUDED IN YOUR SAGE AUDIO MEMBERSHIP
- One-on-One Mixing Feedback
Private 1-on-1 mixing feedback directly from us
- Mastering Service
Custom mastering service tailored to your specific sound
- Mixing Course
Access to our 23-video structured step-by-step mixing course, including walkthrough sessions for 8 genres, featuring mixing chains with free and paid plugins — Multitracks for mixing practice are included
- Mastering Course
Access to our 19-video structured step-by-step mastering course, including walkthrough sessions for 8 genres, featuring mixing chains with free and paid plugins — Unmastered mixes for mastering practice are included
- Community
Access to the thriving Sage Audio community for discussions and networking
- Cancel Anytime
No commitments
- Risk-Free Money-Back Guarantee
If we can't make your mixes sound 10 times better, you don't pay for it, so it's risk-free
What's the Endgame?... You have mixes that sound 10 times better — songs you're proud of that make people say "Wow."
We guarantee 10 times better sound, or you don't pay for it, so it's risk-free. Members get 1-on-1 mixing feedback, mastering service, courses & access to our thriving community. That’s about it.
If you want to transform your mixes from a source of pain and struggle to a source of pleasure and fulfillment, JOIN NOW. The struggle stops now. START NOW
