The Lab Mastering Room is a professional mastering studio located in sun-kissed South Florida.



Designed and operated by head engineer Jose Freddy Gonzalez who boasts over 30 plus years in audio.

We offer a Hi-End service for CD, Digital stream, Stem Mastering, Remastering and Audio Restoration.
Experience the clarity that professional mastering will bring out in your music. To achieve this, we provide an effective combination of knowledge and state-of-the- art equipment.

The Lab Mastering Room’s online-based service offers and supports an analog, cost effective workflow. We honor and respect each artists unique vision for their project. 



The Process


Understanding Mastering Process


What is mastering?
To put it simply, it's the final polish on your music before you showcase it to the world. The Lab Mastering Room offers Hi-End services for audio CD’s, digital streams, stem mastering, re-mastering and audio restoration. Experience the clarity that professional mastering brings out in your music with an effective combination of knowledge and state-of-the- art equipment.

Mastering is a mysterious necessity. Here are answers to some common questions: 

What really happens during mastering?

What can I expect from it?

Why do I need a mastering engineer?

Can’t I just master my own project?

 Let’s start at the beginning...

Mastering, in essence, is the last step of the artistic process, and the first step of the manufacturing or digital delivery stage. Like every step in the recording process, mastering incorporates both art and science.

Mastering engineers create a cohesive body of work from a collection of songs. Creating that “packaged” sound requires a clear understanding of the artist’s goals.

The songs on any given album were recorded and mixed over a period of time—and often, in different studios and with different engineers along the way. This process often introduces sonic variety from song to song.

Mastering is a Zen-like process, let’s break down the stages for a minute.

Recording engineers make choices about capturing individual sounds—from choosing the correct mics and mic placement to configuring gain structure, signal flow, etc.  The mixing engineer’s job is to balance recorded elements and create the presentation that the artist or producer envisions. Mastering is all about translatability and presentation of this completed body of work. In other words, the mastering engineer makes sure the meal is presentable to the diner: the proper portions (EQ) in proper places. The right timing (pacing and fades) and temperature (dynamics). The final phase of quality control between creation and consumption—here, between the artist and the listener.

Remember that in mastering, we only have two channels to work with. We cannot change the mix; we can only change the perception of the mix—shifting the focus, perhaps, using EQ to get rid of problem frequencies while adding others that may be lacking. In mastering, compression is a way of bringing the mix forward a bit, or to glue the instruments together a bit more. At this stage, these are finishing tools, not construction tools. If someone is recording and says, “let’s just capture it; we will fix it in the mix,” they are already starting on the wrong foot. The same goes for mastering. If mixing engineers say, “let’s fix it in mastering,” they are passing the buck and not doing their job.

We believe mastering is an art form, and should be approached as such. Since mastering is about the presentation, it is subjective, yet still requires an objective perspective of the music. There are as many opinions about how mastering is needed and used as there are engineers. Music is art. And art is not a competition; it’s an expression. When clients leave at the end of the day , they  have a representation  in their hand of all  their hard work. all of the time and money spent, all of the emotions and hardships they went through to make their record, We want them to be proud of their body of work. We want their fans to be able to listen into the music. We want them to be drawn into what the artist has to say. We are honored  to be entrusted with an artists creation.  Our job is to help artists fine tune their self expression and have a great product that connects them to their fans and we love it ! 



Service in Details


We offer different  services for mastering.


Standard Mastering  

Includes a high resolution wave master at the following file formats.
·      16-BIT 44.1 KHZ
·      24-BIT 48 KHZ
·      320 Kb/s MP3

We want to always want to ensure you’re pleased with the master. To accommodate this, we allow up to two revisions on each master.
24hr rush delivery is also available. Additional cost may apply

Stem Mastering

This process is a little different as we will take each of your stems and merge them into a high quality deliverable high resolution wave master at the following file formats.
·      16-BIT 44.1 KHZ
·      24-BIT 48 KHZ
·      320 Kb/s MP3

We allow up to two revisions on each master. Standard turnaround time is 3 – 10 business days
24hr rush delivery is also available. 


Our standard service includes high resolution WAV masters at 16-bit 44.1kHz, 24-bit 48Khz and Mp3 Versions (320 Kb/s)

Other formats:

  • Additional 24-bit Versions (HD 24-bit 44.1kHz)

  • Additional Mastered for iTunes Versions (MFiT)

  • Additional Versions for Vinyl Cutting (HD)

  • Song information and Art provided for you (jpeg) encoded for digital release (metadata)


CD/DDP + Redbook

This DDP contains all of the digital information of your album which can be sent to CD replication plant for error-free replication.

For a DDP/CD release, you will supply all the information related to the songs and Album, including the order of the tracks song titles (exactly how you want them to appear), crossfades or special gaps between tracks (if applicable), and ISRC and UPC/EAN codes.


Remastering Audio Tapes ¼”

Up to two revisions
Standard Turnaround Time 3-10 Business Days.

24hr rush delivery is also available. Additional cost may apply.

Prior to remastering the tape to a digital world. Tape inspection is required to check the condition of the tape.



Mastering for vinyl is a slightly different process than prepping an album for a purely digital release.

The entire mastered album  can be sent straight to the pressing plant in two wav. Files, Side A and B
Please provide all the track information with transitions/crossfades between tracks (if applicable).

Side Length Considerations:
Time limits for sides:

  • 7″ @ 33 1/3 RPM: 6 minutes per side [NOTE: 45rpm is always the best choice for a 7″, if side length permits. 33rpm is more of a “compromise”, and can be more prone to distortion. Please call for more information.]

  • 7″ @ 45 RPM: 4.5 minutes per side.

  • 12″ @ 33 1/3 RPM: 18 minutes per side is ideal, 20 minutes per side is still good, 22 minutes per side may cause issues depending upon the music.

  • 12″ @ 45 RPM: 12 minutes per side is ideal, 14 minutes is ok.

Time  limits are not a one-size-fits-all approach.  For example, 4 minutes of a soul ballad on a single side of a 7inch is a completely different record than a 7inch 45rpm side containing very bright heavy metal guitar or a loud Hip hop track. 


We are looking forward to working on your project. Please email us for further details.