About Streaky

Streaky started mastering records in the early nineties. Following his earlier musical life as an Acid house DJ, he fired up his Atari to create remixes for The Stone Roses, Groove Armada and many more, before making the transition into Mastering.

Streaky’s mastering journey began when he landed his first job at Zomba’s Battery Studio in London, learning the art of compact disc mastering before moving to Soundmasters in 2000. Here he worked with some legendary artists across a broad range of genres and became a respected name in the vinyl cutting world, working with some renowned DJs and international dance acts.

Approach to Mastering

Streaky only uses high end analogue equipment as he feels it offers him the feel and musicality required after all the current digital processing. Streaky has earned a reputation for achieving a sound beyond the commercial norm. Clients develop a great working relationship with Streaky, knowing he fully understands and appreciates their vision and the sound they’d like to achieve on the final master.

Paul Weller, JME, Skepta, Lily Allen, Will Young, Hurts, P Diddy, Usher, Wiley, Depeche Mode, Taio Cruz, Imran Khan and Chip are just a handful of the artists to benefit from Streaky’s expertise as a Mastering Engineer.

Streaky lives in London with his wife, two boys and an unhealthy obsession with classic cars.

Streaky’s Discogs Page

Streaky Mastering Showreel


Loud Mastering & AD Convertor Clipping – Episode #48

To get tracks loud when you’re going through the mastering chain you need to push into your AD convertor. It’s no good just pushing level through one piece of equipment for this you need to do some gain staging in small steps by just eking a little bit more level out of the compressor, a little bit more level out of your EQ, a little bit more level out of everything as you go through the chain.

You are only going to be able to push your AD to a certain point, without it breaking up. So like any other piece of equipment you need to learn how the AD sounds with the levels being pushed into it. Don’t concern yourself with the red light; because they all got a little bit a play in them, but some have got more than others. Different convertors will behave and react in different way to different genres of music. I have some that I could push miles over and they still couldn’t hear distortion.

Some AD’s have soft clips on them or soft limiters. I don’t really like these as they close the sound in too mach and it’s better to control this limiting with dedicated units.

You are never going to be able to get a track loud just by going into the AD; you are going to need some limiters after. SO I suggest using digital limiters after the AD to get the extra boost you require. I usually use a combination of two, depending on the track. I like the fabfilter, I also use the outboard L2 as it sounds better than the plugin. But depending on the track there are different ones for different styles.

I don’t have any scientific approach for level into your AD convertor, it’s just all feel and sound. It’s same with limiters, you can hear as soon as you start pushing the limits too high, because it starts pushing the track and closing the track in. you start losing all the really nice peaks, that you have put in with your EQ’s.

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For bookings or any other information please contact Alvin :

(+44) 0208 742 1111

Metropolis Mastering
The Power House
70 Chiswick High Road
London W4 1SY

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