Nick Landis Mastering

Nick Landis Mastering 20 years of listening to music and turning knobs. Helping great mixes become great records since 2005.
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Vinyl has a completely different set of considerations than digital mastering. Level, bass, runtime, side splits — all o...
09/01/2026

Vinyl has a completely different set of considerations than digital mastering. Level, bass, runtime, side splits — all of it is interconnected in ways that catch people off guard. Full guide goes live Wednesday at Nick Landis Mastering.

The fall release window is the busiest of the year. If your project is targeting an end-of-year release, reaching out no...
08/21/2026

The fall release window is the busiest of the year. If your project is targeting an end-of-year release, reaching out now gives us both the best options. Nick Landis Mastering.

Vinyl can't be shuffled. You commit to a side. That constraint is part of why I think the format is making a comeback — ...
08/17/2026

Vinyl can't be shuffled. You commit to a side. That constraint is part of why I think the format is making a comeback — it restores the ritual of listening to an album the way the artist intended. The sequence becomes part of the experience in a way that streaming doesn't allow. Full post on this at NickLandis.com

If vinyl is part of your release plan, the sequence conversation needs to happen before you've committed to one. Album l...
08/14/2026

If vinyl is part of your release plan, the sequence conversation needs to happen before you've committed to one. Album length, inner groove distortion, the A/B split — these are technical realities that affect which decisions are available to you at the pressing stage. The earlier we talk, the more options you have.

The order of tracks on an album is one of the most underrated decisions in making a record — and one of the easiest to o...
08/12/2026

The order of tracks on an album is one of the most underrated decisions in making a record — and one of the easiest to overlook when you're focused on getting the music finished. Vinyl can't be shuffled. You commit to a side. That constraint is part of why I think the format is making a comeback. A new post at Nick Landis Mastering on sequence as a storytelling tool, the low-tech method I've used for decades to evaluate album order, and the technical realities vinyl introduces that most clients don't know to plan for.

When I work on a sequence, I write information about each song on a quarter-slip of paper. Then I lay them all out on th...
08/10/2026

When I work on a sequence, I write information about each song on a quarter-slip of paper. Then I lay them all out on the floor. You can step back, move pieces around, hold two adjacent tracks in view while considering a third. It's a different cognitive experience than scrolling a track list on a computer. Still the method I come back to.

Before committing to an Atmos project, it helps to have a conversation about whether it makes sense for your music and y...
08/08/2026

Before committing to an Atmos project, it helps to have a conversation about whether it makes sense for your music and your release. I'm happy to talk it through. Nick Landis Mastering.

From the Atmos guide on the blog this week: a practical summary of what makes an Atmos project go smoothly — stems, form...
08/06/2026

From the Atmos guide on the blog this week: a practical summary of what makes an Atmos project go smoothly — stems, format, and how to communicate what you're trying to achieve spatially. Full details at Nick Landis Mastering.

Apple Music and TIDAL are currently the most prominent streaming platforms supporting Dolby Atmos for music. Understandi...
08/04/2026

Apple Music and TIDAL are currently the most prominent streaming platforms supporting Dolby Atmos for music. Understanding where your Atmos master will actually be heard helps set realistic expectations going into the project.

The best Atmos masters I've worked on feel like a more natural version of the stereo mix — not a dramatic showcase of sp...
08/01/2026

The best Atmos masters I've worked on feel like a more natural version of the stereo mix — not a dramatic showcase of spatial capability. The goal isn't to surround the listener. It's to place the music in a space that serves the song. Restraint applies here the same way it does in any other mastering decision.

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