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[A. Daly]

I'm pretty much as inexperienced as you can get, As a small bit of background I've been working as a Live / FoH engineer for over 10 years, and have recently started to make a move into studio recording / mixing by opening a painfully modest studio and getting "hands-on" to learn as much as I can. (I've lots of previous recording / mixing experience as an ex-musician myself too, however I discount that pretty much as taking that as valuable experience seems like a patient using his experiences of illness as a qualification to practice medicine )

Because of my current inexperience, and lack of competitive facilities as a starting point I'm probably what many here consider a "Bottom Feeder", however have been fortunate to it the ground running and being busy enough to work and learn fairly fast.

Due to the market sector I'm aiming at, I'm finding it difficult to get bands to understand the value of spending just a touch more to take my mixes to an established ME, however some have shown an interest after explaining what an ME does and the difference in quality they could possibly get by using one rather than having me give them something mastered (haha!) in-house and ready to  dupe-with-a-PC-to-sell-at-gigs.

I'd like to find some way of establishing some kind of working relationship with an ME for as I'm sure that it will help me learn to mix better tracks, will give the band better VFM, even if it does increase their budget slightly and lastly whilst I'm fairly confident about my mixing ability and potential I'm not so confident when it comes to the rough-and-ready treatment my mixes get when it comes time to master them. (Master is the wrong term in my case, Butcher is probably closer )

So, long-winded blathering aside, Here are my questions:

What's the best way of establishing such a relationship?
How do I best judge who to go to?
What pitfalls, issues and etiquettes do I need to watch for and adhere to?

All advice greatfully received.
(Except any advice to quit, I'm as stubborn as a mule and half as intelligent )

Alan.

[CWHumphrey]

This one's easy.  Start contacting people you want to work with.  Many ME's offer a low, one-time rate for a first song or even offer one song on spec.  Pick a song you feel greatly represents you and have it mastered.  Then, you'll have a specific expample you can play to clients of a well-mastered track and the original mix.

You're right, paying attention in mastering will improve you're work.  I still take a peak over the shoulder of the ME to what freq. he's reaching for even though in the case of Bill Dooley, I've done coming somewhere around 40 projects with him.

Pitfalls?  Don't talk while the ME is listening.  Best advice?  Show up with cash.  People like cash!

Cheers,

Carter William Humphrey

[Bob Olhsson]

I've always learned a tremendous amount from attending mastering sessions even after many years of experience.

[carlsaff]

The two best ways to find an ME:

1) Ask friends who've made records who they like.

... or, barring that ...

2) Contacting the names on the backs of records you like.

It can be that simple! Of course, if you want to attend the session, you may want to filter the results down to local candidates.

[Thomas W. Bethel]

Well you certainly have some choice here on this fourm.

If you want to be involved find someone closer to home. If you want to find someone good ask people that you know that have had stuff mastered where to go. Word of mouth advertising is probably the best bet for most mastering engineers. I think it would be safe to say that satisfied clients are what we are all stiving for.

Best of luck in your search!

[Oldfart]

Most of my clientele is based on my relationship with mix engineers. And much of their continued support is due to the relationship we've developed.

The better our relationship, the better all around are the products coming from both sides.

Oldfart