about us

Feel the sound

Mastering requires the engineer to understand and feel empathy for the vision that has been created for the song and ensure that it is fully realized.

We aim to provide the opportunity for any artist (not just the elites) to realize their dreams and sound amazing.

Jon approaches mastering with an open mind, high standards, and excellent equipment.

He believes in the beauty of collaboration, the wisdom of learning from those who came before us, and the excitement of exploration and innovation.

about us

Feel the sound

Mastering requires the engineer to understand and feel empathy for the vision that has been created for the song and ensure that it is fully realized.

We aim to provide the opportunity for any artist (not just the elites) to realize their dreams and sound amazing.

Jon approaches mastering with an open mind, high standards, and excellent equipment.

He believes in the beauty of collaboration, the wisdom of learning from those who came before us, and the excitement of exploration and innovation.

As seen heard on:
As seen heard on:

Testimonials

client

Client

Testimonials

Spyrit Myx

GRAMMY Winning Mix Engineer
“My clients love my mixing and don’t see how Jon can improve on it till they hear the polished version. Business is good because I have been delivering top level masters, all thanks to Jon. It’s easy to tell that Jon cares about his work. I guess that’s something we have in common and the reason we became friends. There's a little juju involved in mastering and Jon is a wizard.”

SPYRIT MYX

GRAMMY Winning Mix Engineer
“My clients love my mixing and don’t see how Jon can improve on it till they hear the polished version. Business is good because I have been delivering top level masters, all thanks to Jon. It’s easy to tell that Jon cares about his work. I guess that’s something we have in common and the reason we became friends. There's a little juju involved in mastering and Jon is a wizard.”

Brendan Barry

GRAMMY Winning Mix Engineer & Composer
“I would not have won a GRAMMY if I had never met Jon Tornblom. The guy is not only a wealth of knowledge, but one of the best teachers I have ever had.”

Brendan Barry

GRAMMY Winning Mix Engineer & Composer
“I would(new) not have won a GRAMMY if I had never met Jon Tornblom. The guy is not only a wealth of knowledge, but one of the best teachers I have ever had.”

Timix

UK-based Afrobeats Artist
"It's always a delight to work with Jon because not only is he very passionate–and frankly–in love with what he does, but he is also very determined to understand and deliver what I, as the creator, have in mind."

TIMIX

UK-based Afrobeats Artist
"It's always a delight to work with Jon because not only is he very passionate–and frankly–in love with what he does, but he is also very determined to understand and deliver what I, as the creator, have in mind."

Gareth Inkster

Singer / Songwriter
“As an artist, I know what it’s like to spend months labouring over a project, fretting over the minutiae, walking the tightrope with pride on one hand and nerves on the other. I can say, unreservedly, that Jon eased all my nerves.”

Gareth Inkster

Singer / Songwriter
"As an artist, I know what it’s like to spend months labouring over a project, fretting over the minutiae, walking the tightrope with pride on one hand and nerves on the other. I can say, unreservedly, that Jon eased all my nerves."

Steve Lensink

Juno Nominated Producer
“This is the first time I've worked with a mastering engineer who truly takes everything to the next level. I'm used to just getting a louder, brighter mix back, so it's been REALLY great to work with someone who takes everything personally.”

STEVE LENSINK

Juno Nominated Producer
“This is the first time I've worked with a mastering engineer who truly takes everything to the next level. I'm used to just getting a louder, brighter mix back, so it's been REALLY great to work with someone who takes everything personally.”

David Hodges

Montreal Based Producer
“Jon has really connected the emerging Indigenous artists we represent. They are interested in learning the language of sound. Jon's mastering breakdowns, explain how he translates pre-mastered mixes into commercial sonic masterpieces.”

David Hodges

Montreal Based Producer
“Jon has really connected the emerging Indigenous artists we represent. They are interested in learning the language of sound. Jon's mastering breakdowns, explain how he translates pre-mastered mixes into commercial sonic masterpieces.”

AWU

Makossa Fusion Artist
"I don’t know how he managed to deliver the entire album in one mood and feel. One thing I admired most about all the songs is that the Makossa feeling was maintained with an additional touch of foreign effects on mastering. He's gonna do all my future projects."

AWU

Makossa Fusion Artist
"I don’t know how he managed to deliver the entire album in one mood and feel. One thing I admired most about all the songs is that the Makossa feeling was maintained with an additional touch of foreign effects on mastering. He's gonna do all my future projects."
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FEATURED PROJECTS

Projects

PROJECTS

Featured

Featured Project
TIMIX

I see what you're going for.

Jon remarks on his responsibility to treat the music he’s working on with care, “It’s an important part of my process to realize that everybody’s music means something to them, you know, and that makes it mean something to me.”

Featured Project
TIMIX

I see what you're going for.

Jon remarks on his responsibility to treat the music he’s working on with care, “It’s an important part of my process to realize that everybody’s music means something to them, you know, and that makes it mean something to me.”

Featured Project
Gareth Inkster

I'm not here to stress you out.

“As an artist, I know what it’s like to spend months labouring over a project, fretting over the minutiae, walking the tightrope with pride on one hand and nerves on the other. I can say, unreservedly, that Jon eased all my nerves.”

Featured Project
Gareth Inkster

I'm not here to stress you out.

“As an artist, I know what it’s like to spend months labouring over a project, fretting over the minutiae, walking the tightrope with pride on one hand and nerves on the other. I can say, unreservedly, that Jon eased all my nerves.”

"I love working with international clients because I get to morph my sound into their sound."
Jon Tornblom
Remarks on international music

International Experience.

AWU

Cameroon, Makossa Fusion Artist
Taiwanese Musician
Featured Project
AWU / It's Your Fault

International Experience.

“I love working with international clients because I get to morph my sound into their sound.”

Jon Tornblom

Remarks on international music

Featured Project
Eric Brandon

I'm all about teamwork.

Jon speaks about collaborating with Steve Lensink, a Juno nominated producer, and singer/songwriter, Eric Brandon.

“Collaboration is one of my favorite things that I get to do as a mastering engineer.”

Featured Project
Eric Brandon

I'm all about teamwork.

Jon speaks about collaborating with Steve Lensink, a Juno nominated producer, and singer/songwriter, Eric Brandon.

“Collaboration is one of my favorite things that I get to do as a mastering engineer.”

Featured Project
Angel Baribeau

Pushing for representation.

Jon provides his thoughts on the importance of more representation, diversity  and equity in the music industry.

Featured Project
Angel Baribeau

Pushing for representation.

Jon provides his thoughts on the importance of more representation, diversity and equity in the music industry.

Frequenty Asked Questions (FAQ)

Here are some guidelines for file preparation and delivery for Standard Mastering requirements and Stem Mastering. If you have any questions, please ask!

  • Export/Bounce/Render a stereo file of your mixdown to either .wav, .aif, or other lossless format.
  • Use at least 24 bit depth, and whatever sample rate your session is running at.
  • Remove any loudness processing or heavy mixbuss processing. Light compression and EQ etc are usually ok, but it’s always helpful to mention what processing is across the full mix.
  • Ensure that the song does not clip or hit 0 dBFS. No extra headroom requirements are necessary.
  • Check that the start of the song is not cut off – this happens often with guitars or other live instruments that have been used with loop or sample-based music.
  • All of the Standard Mastering requirements as well as:
  • All Stems must have the exact same starting point.
  • A mixdown reference must be supplied with the stems to ensure stem sync that all sounds a present.
  • I accept up to 7 stems at standard mastering rates. They are typically as follows:
    1. Lead Vocals
    2. Background Vocals
    3. Drums/Percussion
    4. Bass
    5. All Other Instruments
    6. Additional FX busses
    7. Non-musical Samples/Tags/Sound FX
  • If your arrangement is atypical, please ask regarding stems.
  • Working with more than 7 stems may incur an extra charge.
  • Please clearly name the stems with song title and which instrument group it contains
  • The client will deliver mixes by the date specified or else the job may be rescheduled according to availability.
  • Rushed Deadlines (within 1 week) may incur an extra charge.
  • Mastering includes 2 revisions.
  • Additional versions of the master such as instrumental versions, radio edits, etc. may be requested in place of revisions, otherwise they incur an extra charge.
  • The client will submit stems according to the File Delivery guidelines. Sending atypical sets of files that are not sync’d or contain more than 7 stems in total may be rejected for mastering. 
  • Revisions will be done according to availability. Rushed revisions may incur an extra charge.
  • The client will communicate as respectfully and as clearly as possible.
  • The client acknowledges that the final quality of the masters depends on the quality of the audio delivered to the mastering engineer. 
  • Requesting revisions based on phone speakers or otherwise poor quality sound systems may be rejected by the mastering engineer (for example, distortion on phone speakers or lack of deep sub bass on small speaker systems).
  •  The client agrees to pay the requested deposit and final bill by the due date indicated.
  • Session files and masters are only guaranteed to be stored for 90 days from the payment of the invoice. Long-term storage solutions available upon request.

Equalization

  • DR-MQ5 Parametric Mastering Equalizer
  • TFPro P9 – Ted’s Definitive Equalizer

Dynamics

  • Dangerous Compressor
  • Requisite Audio L2M mkIII M/S
  • Pendulum PL-2 JFET/MOSFET Limiter
  • Gryratec XXI Magneto-Dynamic Infundibulum
  • IGS Tubercore 3U Mastering Edition

Monitoring

  • Tyler Acoustics D2x Mastering Mains
  • AKG K812 Pro + Shure SRH840 Headphones
  • Bryston 2B LP

Conversion

  • Apongee Symphony MKII 2×6 Special Edition

Frequenty Asked Questions (FAQ)

Here are some guidelines for file preparation and delivery for Standard Mastering requirements and Stem Mastering. If you have any questions, please ask!

  • Export/Bounce/Render a stereo file of your mixdown to either .wav, .aif, or other lossless format.
  • Use at least 24 bit depth, and whatever sample rate your session is running at.
  • Remove any loudness processing or heavy mixbuss processing. Light compression and EQ etc are usually ok, but it’s always helpful to mention what processing is across the full mix.
  • Ensure that the song does not clip or hit 0 dBFS. No extra headroom requirements are necessary.
  • Check that the start of the song is not cut off – this happens often with guitars or other live instruments that have been used with loop or sample-based music.
  • All of the Standard Mastering requirements as well as:
  • All Stems must have the exact same starting point.
  • A mixdown reference must be supplied with the stems to ensure stem sync that all sounds a present.
  • I accept up to 7 stems at standard mastering rates. They are typically as follows:
    1. Lead Vocals
    2. Background Vocals
    3. Drums/Percussion
    4. Bass
    5. All Other Instruments
    6. Additional FX busses
    7. Non-musical Samples/Tags/Sound FX
  • If your arrangement is atypical, please ask regarding stems.
  • Working with more than 7 stems may incur an extra charge.
  • Please clearly name the stems with song title and which instrument group it contains
  • The client will deliver mixes by the date specified or else the job may be rescheduled according to availability.
  • Rushed Deadlines (within 1 week) may incur an extra charge.
  • Mastering includes 2 revisions.
  • Additional versions of the master such as instrumental versions, radio edits, etc. may be requested in place of revisions, otherwise they incur an extra charge.
  • The client will submit stems according to the File Delivery guidelines. Sending atypical sets of files that are not sync’d or contain more than 7 stems in total may be rejected for mastering. 
  • Revisions will be done according to availability. Rushed revisions may incur an extra charge.
  • The client will communicate as respectfully and as clearly as possible.
  • The client acknowledges that the final quality of the masters depends on the quality of the audio delivered to the mastering engineer. 
  • Requesting revisions based on phone speakers or otherwise poor quality sound systems may be rejected by the mastering engineer (for example, distortion on phone speakers or lack of deep sub bass on small speaker systems).
  •  The client agrees to pay the requested deposit and final bill by the due date indicated.
  • Session files and masters are only guaranteed to be stored for 90 days from the payment of the invoice. Long-term storage solutions available upon request.

Equalization

  • DR-MQ5 Parametric Mastering Equalizer
  • TFPro P9 – Ted’s Definitive Equalizer

Dynamics

  • Dangerous Compressor
  • Requisite Audio L2M mkIII M/S
  • Pendulum PL-2 JFET/MOSFET Limiter
  • Gryratec XXI Magneto-Dynamic Infundibulum
  • IGS Tubercore 3U Mastering Edition

Monitoring

  • Tyler Acoustics D2x Mastering Mains
  • AKG K812 Pro + Shure SRH840 Headphones
  • Bryston 2B LP

Conversion

  • Apongee Symphony MKII 2×6 Special Edition

Ready to start your project?

Please provide us with some initial project details, and we’ll review and get back to you!

Ready to start your project?

Please provide us with some initial project details, and we’ll review and get back to you!

Have a question before beginning?

Use the form below to get in touch with us. Feel free to text or call @ (902) 814-8933. Somehow, people have gotten shy about directly phoning someone. With us, there’s no need for that.

Have a question before beginning?

Use the form below to get in touch with us. Feel free to text or call @ (902) 814-8933. Somehow, people have gotten shy about directly phoning someone. With us, there’s no need for that.

published collections

Surgical EQ: Blessing or Curse?

Equalization is probably the most ubiquitous process we apply to tracks. It’s a powerful tool that we can use to shape sounds and correct systemic …

Read More →

Surgical EQ: Blessing or Curse?

Equalization is probably the most ubiquitous process we apply to tracks. It’s a powerful tool that we can use to shape sounds and correct systemic …

Read More →

Surgical EQ: Blessing or Curse?

Equalization is probably the most ubiquitous process we apply to tracks. It’s a powerful tool that we can use to shape sounds and correct systemic …

Read More →

Surgical EQ: Blessing or Curse?

Equalization is probably the most ubiquitous process we apply to tracks. It’s a powerful tool that we can use to shape sounds and correct systemic …

Read More →

Featured

published collections

Featured

Surgical EQ: Blessing or Curse?

Equalization is probably the most ubiquitous process we apply to tracks. It’s a powerful tool that we can use to shape sounds and correct systemic …

Read More →

Surgical EQ: Blessing or Curse?

Equalization is probably the most ubiquitous process we apply to tracks. It’s a powerful tool that we can use to shape sounds and correct systemic …

Read More →

Surgical EQ: Blessing or Curse?

Equalization is probably the most ubiquitous process we apply to tracks. It’s a powerful tool that we can use to shape sounds and correct systemic …

Read More →

Surgical EQ: Blessing or Curse?

Equalization is probably the most ubiquitous process we apply to tracks. It’s a powerful tool that we can use to shape sounds and correct systemic …

Read More →
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© 2023 Transparent Mastering. All Rights Reserved.