Steve Albini is one of my favorite recording engineers. The sounds he has been able to capture on albums like Neurosis’ “A Sun That Never Sets” and The Jesus Lizard’s “Goat” are prime examples of his ability to allow individual instruments to have a distinct character, while operating as a whole. In fact, he purposely makes space for a band to express their distinct character, and is able to encapsulate their time in his studio (Electrical Audio) on tape in a way that puts forth a power and vibe that many recordings cannot match. His integrity feeds a philosophy that puts musicians at center stage, making Albini a facilitator, as opposed to studio tyrant. His opinions are strong and carry the weight of experience, as well as an informed mind. All of this can be heard when you listen to a record he has worked on. The public is fortunate that a great many of his thoughts on audio can be listened to, as well as read, by way of the public interviews he has done and topics he has personally written about.

As of late I have been listening to interviews Albini has done by using the magical world of YouTube. I recently stumbled across an interview he did with SAE Australia in December of 2015 (published on YouTube on July 12, 2016) that covers many topics of value to recording enthusiasts and professionals. The following excerpt about Albini’s views on mastering I found too good not to share: Masterclass with Steve Albini SAE Australia (timestamp 58:13-1:03:49). I believe Albini clearly lays out appropriate expectations that should be placed on the mastering process and also defines key points in what to look for in a mastering engineer. I would ask the reader to please listen to the whole excerpt from 58:13-1:03:49. Let his thoughts sit with you for a few moments and ask yourself, why does Albini use mastering engineers? I believe the answer to that question is one of great import to the musician, recording engineer, producer, mixing engineer, and even the mastering engineer who asks it.