Our studio is easily accessible from almost anywhere in Manhattan and the surrounding burroughs. We are located only three blocks from the York St. subway station on the F train - the first stop in Brooklyn. If you are walking to the studio from the train station, you can view a map and directions or you can download some printable PDF directions.

Assembled into an environment where audio can be shaped flexibly and transparently, our mastering room combines the very best in high quality analog and digital equipment supported by an extremely low-noise balanced power system ensuring the best possible sound quality.

In collaboration with acoustician Francis Manzella (FM Design), our studio is designed to offer a comfortable and critical listening environment with optimized acoustics.

Wireless internet access is available throughout the studio as well as a comfortable lounge area with plenty of amenities.

• Analog tape machines: Ampex ATR-102 (1/2", 1/4"), Studer B67 (1/4"), Ampex 440B (1/2" & 1/4", modified by Manley for 15 & 30 IPS), heads by JRF Magnetics.
• Converters: Prism AD-2, Prism DA-2, Benchmark DAC-1.
• Workstations: Steinberg 5.0 & 6.0, Sadie 4.0, Sonic Solutions PreMaster, Waves plugins.
• Digital & Analog outboard processing: Pendulum Audio PL-2 & OCL-2, Manley Massive Passive & ELOA, Cranesone HEDD, Weiss DS1-MK2 & Pow-r, Waves L2, Maselec MPL-2.
• Monitoring: Dunlavy SC-IV loudspeakers, McCormick monoblock power amplifiers, Sennheiser HD600 headphones (x4), Dorrough meters.

At Bonati Mastering, our goal is to cultivate a hands-on relationship with our clients while attending to the diverse needs & goals of every mastering project.

Contact

As a rough estimate, mastering usually takes about 30 minutes of studio time per song. A 45-minute, 10-song album will take between 4-6 hours. Because critical decisions about the project are easier to make when the client is present, we encourage you to attend the mastering session (though we understand this is not always possible).

Transfers / Re-mastering

Specialized audio processing that helps to improve intelligibility and reveal details in older or otherwise "challenging" recordings. Dramatic improvements are usually possible regardless of the source material (vinyl, older analog tape, cassettes, etc).

In addition to sonic improvements, other options exist such as level adjustment, spacing/sequencing changes, noise reduction, etc. Normal studio time rates apply unless work is needed for a large amount of material. Please contact us to discuss details.

Tasks typically undertaken are track sequencing, equalization, dynamics, constructing proper fade-ins / fade-outs / cross fades, removing unwanted noise, changing or matching levels, and adding sound effects or samples.

CD Duplication Master (25$ each / 20 Euro)

Final edited version of project. Includes PQ sheet and error report. Optional: ISRC codes and CD text (no charge).

Vinyl Pre-Master CD (15$ each / 12 Euro)

Contains the proper sequence of tracks and a 30 second silent "break" that indicates the transition between sides A & B.

Listening copy of the CD Duplication Master or vinyl sequence. This disc is used to approve the mastering work, including spacing, fades, and overall level of the project.

Digital Release Data CD (15$ each / 12 Euro)

Contains data files for each of the project’s individual tracks. Useful for a project that will be distributed digitally - iTunes, eMusic, etc.

MP3 Data CD (10$ each / 8 Euro)

Data CD-R containing high quality conversions of project tracks to MP3 format.

Shipping 

• Fedex 2nd Day - 25$
• Fedex Overnight - 35$
• Fedex International - 100$ / 70 Euro

Payment

If you are attending the mastering session, you should be prepared to pay at the end of the day.

Unattended sessions require full payment before we can release your masters. We accept Cash, Check, Paypal, and Wire Transfer. We do not accept credit cards.

An additional charge of $25 (20 Euro) applies to wire transfers to cover bank fees. Paypal payments also require an additional 5% of the total invoice to cover transaction fees.

Prices subject to change with international exchange rate. Prices current as of 03/26/08.

In general, we suggest that you provide us with the highest quality versions of your stereo mixes. For digital formats, this would be a data CD-R or DVD-R containing audio files in the BWF, AIFF, or WAV file formats.

Any sample rate above 44.1 kHz (48, 88.2, 96 etc.) is acceptable for mastering, but we recommend that you export ("render", "bounce to disk") your audio files to your hard disk at the highest possible resolution (24 bit or 32 bits usually) without using dithering and noise-shaping functions.Mastering material from an audio CD (a 16 bit format) is possible, but data CD-Rs are highly preferred.

Also, please leave some headroom in your mixes - it is not necessary for mixes to be supplied at the highest level possible.

Overcompensating for loudness in the mixing stage has the potential to severely hinder the master process. Overall level can be easily and carefully adjusted during mastering without introducing unwanted side effects.

For digital formats, we prefer CD-R or DVD-R discs containing stereo audio files in the BWF, AIFF, or WAV file formats that use any of the following sample rate/bit resolutions:

• 44.1 kHz / 24 bit
• 48 kHz / 24 bit
• 88.2 kHz / 24 bit
• 96 kHz / 24 bit

When exporting your files to hard disk, please don’t use "dither" or "noise shaping" functions. We can work with audio CDs but they are not preferred.

We highly discourage sending MP3 versions of mixes in for mastering, since the quality and fidelity of this format is inferior to other formats such as .WAV or .AIFF files. If you made a MP3 of a mix then you probably also have the original uncompressed file, and that version will sound much better.

If you intend to supply mixes on analog tape, please try to provide the following:

• Proper tape alignment tones: 30 seconds of 100 Hz, 1kHz, 10kHz at your 0VU reference level. Tones should be placed at the end of a reel.
• Optional (but helpful) tones: 50Hz, 16kHz, sweeps, etc.  The more low frequency tones the better.
• Tape box labeled with tape speed, reference level, equalization standard, mix titles & timings, and location of alignment tones.
• Backup data CD-R or DVD-R of analog tape mixes. Vinyl or cassette formats are also acceptable for any restoration, transferring, or re-mastering purposes. If you have an obscure or obsolete format, we can find a way to play and transfer it for you.

As always, it is a good idea to have backup copies of everything that you provide for mastering.

For vinyl projects, please consider the timing guidelines below to ensure the best possible cut. 

Project Information

Please provide us with as much information about your project as possible, most importantly:

• Artist/band name & project title
• Track titles and sequence order
• Side allocation (for vinyl)
• ISRC codes (if desired)
• UPC/EAN code (if desired)
• Catalog number
• Desired formats
• How many CD Masters, Reference CDs, Vinyl Pre-Masters, etc. do you need?
• Mastering notes
• Specific problems to be addressed, spacing & fade instructions, etc.
• Shipping details and invoice address
• Artist/band contact information
• Record label contact information
• Name of person paying and payment type (check, wire transfer, etc.)
• VAT ID (EU customers)

Project Delivery

Uploading files to us for mastering is easy, convenient, and saves considerable time and money. If you are interested in using this method to deliver your project, we will provide the necessary instructions and login information, free of charge.

You may also ship us a package at the following address:

So that we can be prepared, please inform us in advance if you are sending a package. Please include any necessary tracking numbers.

He previously studied acoustical engineering at Purdue University from 1995 - 2000 and then went on to pursue graduate school at the Peabody Institute of the Johns Hopkins University where he studied architectural acoustics under Neil Shade and audio under Alan Kefauver.

Josh has also worked for Polk Audio, Colossal Mastering (Chicago), RPG Diffusor Systems, Echo Park Studios (Indiana), and has worked in both Tokyo and Los Angeles for the Japanese acoustical consulting firm Nagata Acoustics.

Josh has been awarded grants from the Audio Engineering Society, participated in Acoustical Society of America design competitions, and has been a panelist at the Tape-Op Magazine conference.

He currently plays drums in the band Aa (Big A little a) in Brooklyn, New York.