Mastering in Basel
Benjamin Gut · Tonmeister
I master singles, EPs, albums and film soundtracks at my studio, working with you in person or online. I also take on mixing projects.
Benjamin Gut
I am a Tonmeister and bass guitarist, with a Master of Arts in Tonmeister from Zurich University of the Arts. Before founding Gut.Audio in 2020, I worked on music and film score recordings at Idee und Klang Studio.
Today, I concentrate on mastering and also take on mixing projects. My experience in recording and production also informs how I listen to a finished mix: the interplay between musicians, the phrasing and the sonic decisions that support a musical idea.
Studio
My studio is at Webergasse 15 in Basel, where I work with analogue and digital processing. We can discuss and listen to a project together at the studio, or work entirely online.
Studio equipment
Monitoring
- Strauss Elektroakustik SE-NF-3 with two subwoofers
- Trinnov ST2 Pro – room correction
Outboard
- Shadow Hills Industries Mastering Compressor
- SPL PQ Mastering Equalizer
- Chandler Limited EMI TG12345 Curve Bender
- Gyraf Audio Gyratec XXIII G23 "Ambler" Tilt Equalizer
- API 5500 Dual Equalizer
Converters
- Crane Song HEDD 192 D/A converter
- Lavry Gold AD 122-96 MX A/D converter
Selected Credits
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Mission: Impossible – Dead Reckoning Part One
Lorne Balfe
Original Soundtrack ·
Recording: Top Secret Drum Corps
Services & Pricing
Mastering
CHF 100 per song
Revisions to the master are included in the price, provided the mix remains unchanged.
I work on the tonal balance, dynamics and depth of your mix. The music and your intended sound guide how much processing it needs.
For EPs and albums, I consider how the tracks relate to one another, including their running order, transitions and spacing. Transients and phrasing should retain their impact in the finished master.
Discounts and additional services
- Volume discounts for stereo and stem mastering: 5% for 5–9 songs, 10% for 10–14 songs, 15% for 15–19 songs and 20% for 20 or more songs. The discount applies to all songs in the project and never exceeds 20%. Additional versions are excluded from volume discounts. Mixing remains CHF 500 per song, including albums.
- Additional versions, such as instrumentals, radio edits or vinyl masters: CHF 10 per file. Additional versions are excluded from volume discounts. Mastering a revised mix submitted after the original mix has already been mastered: also CHF 10 per file.
- Optional DDP master for CD manufacturing, including ISRC: CHF 100
File formats and release information
Approved for Apple Digital Masters.
Before / After
Compare mix and master
Mastering refines tonal balance, dynamics, loudness, transients and stereo image. The direct mix/master comparison below shows one example.
Playback starts with the master at its original level. “Match loudness” lowers the louder version so you can compare the sound.
Stem mastering
CHF 25 per stem · CHF 100 minimum
Stem mastering allows targeted adjustments to instrument groups such as vocals, drums or bass. You supply a small number of mixed groups along with the complete stereo mix.
The existing mix remains the starting point. We agree on the stem layout beforehand. If the balance of individual tracks, effects or automation is still undecided, that work belongs in mixing.
Mixing
CHF 500 per song
In mixing, I shape the interplay between voices and instruments: their balance, placement and development through a song.
A rough mix and musical references help me understand what you have in mind. We develop the mix through an exchange of ideas and feedback.
Additional mastering: CHF 100 per song.
Testimonials
“His technical knowledge is always at the service of the music […]”
“He listens and offers the right suggestions at the right time.”
“I am lucky to work with Beni Gut because he thinks like a songwriter.”
Read all testimonials
Niki Reiser
Film music composer
“During my film music productions in the Idee und Klang Studio I had the great pleasure of working with Benjamin Gut countless times. His unerring musical and sonic judgement, on which I could always rely, was always a great support to me during recording sessions. His stamina and speed are very impressive: recordings were often already edited before I had even asked him. His technical knowledge is always at the service of the music and if there was ever a need, he also recorded bass and guitar tracks for me.”
Diego Baldenweg with Nora Baldenweg & Lionel Baldenweg
Film music composers
“In addition to his flawless technique, Beni understands the emotion in the music and the composer’s intended aesthetic. He listens and offers the right suggestions at the right time. Thanks for the great collaboration!”
Olivier Truan
Composer and producer
“Benjamin Gut is one of the most pleasant and cooperative sound engineers I know. At home in all styles, and drawing on a wealth of experience and know-how, he tirelessly polishes a project to perfection.”
André Bellmont
Head of "Composition for film, theatre and media" (ftm.zhdk.ch)
“I have had the privilege of supervising and accompanying Benjamin Gut since the beginning of his Tonmeister studies at the Zurich University of the Arts (ZHdK). Since then I have been working successfully with him on numerous projects both inside and outside the ZHdK. I have come to appreciate Benjamin Gut's reliability, professionalism and his friendly, calm and even-tempered manner.”
David Klein
Musician, composer, producer and journalist
“I have been working with Beni Gut for almost 10 years and I find it difficult to find nearly enough superlatives to describe Beni's outstanding qualities. I can say with a clear conscience that without Beni's tireless, highly competent and creative efforts I would not have been able to get my projects done. Beni also has nerves of steel, which enable him to stay relaxed, humorous, attentive and friendly even in the most hectic of situations, when others would long since have been climbing the walls. In my almost 40-year career, it has never been so easy for me to give an unconditional recommendation in every respect as it has been for Beni Gut.”
George Hennig
Singer-Songwriter
“I am lucky to work with Beni Gut because he thinks like a songwriter. He combines technical sophistication with innovative pop appeal. I look forward to the next session!”
Ramón de Marco
Sound scenographer
“Beni is an extremely professional and at the same time pleasant team player who always keeps a clear head, even under extreme stress.”
Ana Scent
Singer-Songwriter
“During my first studio experiences, Beni showed great patience and helped me feel confident. He hears every detail and has a good feeling for harmony and arrangement. Beni is extremely versatile and passionate. Thanks for your inspiration!”
Google reviews
Read all reviews on GoogleFAQ – Working together
Should I choose stereo or stem mastering?
A stereo mix is the usual starting point when the mix is finished. Stems are useful when particular instrument groups still need some flexibility. More files do not automatically produce a better master; the choice depends on what remains to be addressed in the mix.
What information should I include for an album?
Send the number and duration of the tracks, the intended running order and the planned release date. Include the release formats and any additional versions you need, as well as details of transitions or pieces that run into one another.
Can I attend the mastering session?
Yes, by arrangement at my studio. We can also work entirely online.
How should I deliver my mix?
As a WAV file, preferably 24-bit or 32-bit float, at the project's original sample rate. Please do not upsample or normalise it for delivery. Avoid unintended clipping and preserve the complete beginning and decay of the track. A specific amount of headroom, such as −6 dBFS, is not required.
Please also send me a short message with your name and a few details about the project.
Should I remove processing from the mix bus?
Not as a blanket rule. Compression, EQ or saturation may be integral to the sound of the mix. Processing used solely to increase loudness can often be left for mastering. If the processed version represents your intended sound, send it as a reference. We can discuss which additional version would be useful.
How should I prepare the stems?
Stems should share the same start point and reproduce the intended mix when combined. Include the full stereo mix as a reference. We will agree on the instrument groups and how to handle shared effects, sidechains and mix bus processing beforehand: exporting each group in solo does not always reproduce the original mix accurately.
Which files will I receive after mastering?
For each song, you receive 24-bit and 16-bit WAV files, 320 kbps MP3 files and FLAC files. For release, use the appropriate lossless version according to your distributor’s specifications.
If you need ISRC codes, I can provide them free of charge.
What is Apple Digital Masters?
Apple Digital Masters identifies releases prepared from high-resolution 24-bit masters according to Apple’s guidelines. The aim is to preserve the sound of the studio master as closely as possible on Apple Music and the iTunes Store.
I am approved for Apple Digital Masters. When uploading through your distributor, enter my email address, beni@gut.audio, in the relevant field. This is the address registered with Apple. Use the 24-bit WAV files supplied with your masters.
What should I consider for a vinyl release?
If you are planning a vinyl release, let me know before mastering if possible. Alongside playing time per side and playback speed, the running order matters: towards the end of a side, high frequencies and sharp sibilants can be harder to reproduce cleanly. Tracks with demanding high-frequency content may therefore work better nearer the outer edge.
Strong low bass takes up groove space and affects the achievable cutting level and playing time. Wide stereo information in the bass, pronounced high frequencies and sibilance can also cause difficulties in cutting and playback. The appropriate adjustments depend on the music and the cutting studio’s requirements.
I check these aspects during mastering, discuss the side split and running order with you, and prepare a suitable vinyl premaster. You do not need to resolve the technical questions yourself beforehand. The physical cut is then carried out at the cutting studio.
How should I credit you?
For mastering, enter Benjamin Gut with the role “Mastering Engineer”. For CD, vinyl or YouTube, use “Mastered by Benjamin Gut at Gut.Audio”.
Contact
Send me a few details about the music, the number and duration of the tracks and your planned release date. If you have a mix or rough mix, include a listening link.
If you upload files via Dropbox, please also send me a short message so I can identify which project they belong to.
Webergasse 15
4058 Basel
Switzerland