At Work With Emily Lazar, Grammy-Winning Mastering Engineer

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Our new series “At Work” explores the careers of leaders across the music industry. This week: mastering engineer emilylazarlodge talks artist relationships, threats to the business, and working on 4,000 albums

If I’m in the groove, I can work all night. So my next morning is kind of dependent on what happened the last night — I’ve tried to get up at the same time every day but I just can’t do it. I hate how alarm clocks sound; they’re a horrible invention. As far as when my feet hit the floor, the first thing I do is get my son where he needs to go.

We find the creative direction together. Some people want to do multiple versions of a track; some people have very specific requests; others just want me to do what I think is right. That is actually an old quote — I think it’s actually closer to 4,000 now. It takes as long as somebody wants to take. Theoretically, I spend about an hour per track, if nobody is telling me what to do or, you know, to do it 52 times. It’s EQ’ing, compressing, editing, stem mastering. The technology has advanced us to a place where an artist can be mixing something in the studio, send it over to me, and I can master it and send it back, and we can tweak it together.

I’m kind of a midwife for delivering their music, bringing this thing to life. Psychologically, it’s actually similar to the birth process — I think people can be very insecure about their work and there’s this moment where they’re in the room with me and we’re holding the baby and I’m like, “Look at your baby!” They look at me and say, “Is my baby ugly?” And I get to tell them, “No, this is beautiful.

 

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