“Sound mastering is a creative process of sound design with the aim of emphasizing the emotional and shaping the technical side of the sound image of the recordings. The purpose of mastering is to achieve that extra finishing touch that makes a good recording and mix great and makes you want to listen to the song over and over again. When the synergy of a great song, a recording, a mix, and a great mastering is achieved, the listener gets “goose bumps”.

Boštjan Košir


I have been training my hearing and gaining technical and musical knowledge for almost thirty years working in radio and recording studios.

I am a passionate collector of LPs and CDs, always looking for new music, and am very demanding in terms of reproduction quality. You could say I’m an audiophile?

The technical side of sound production and reproduction fascinates me, but I listen to music emotionally first, only later technically. When preparing a master, I first consult with the authors about what they expect from the mastering, what they want to say or communicate with the song or album. Already at this stage, I build up ideas in my head on how to transfer this into technical processing. Listening to the song, I feel the emotions that the song communicates and then I emphasize and transfer them with technical processing to the final master.

I feel very at home in the digital world of plug-ins, but I prefer to use amazing analog devices, which add additional sound dimensions to the recordings. When choosing studio equipment, I am very picky, because I believe that the best results can only be created with the best tools and extensive knowledge.

Speakers and headphones: Genelec, Spendor, AKG, Sennheiser
Amplifiers: Musical Fidelity, NAIM, Lehmann audio
Compressors: Roger Foote (FCS), Manley, API, Drawmer
EQ: Custom Audio Germany, Manley, Pultec
Other analog processors: SPL, Drawmer, dbx
Software: Steinberg Wavelab Pro, Cubase Pro, Spectralayers Pro, Sonnox Oxford, MAAT, Leapwing, Flux Audio …