Panorama Mixing & Mastering

Panorama Mixing & Mastering We help artists, producers, engineers and labels achieve a sound which connects listeners with their

Panorama Studios is a mixing and mastering facility based in Melbourne, Australia. Our philosophy is that with every project we are collaborating to work towards the same common goal: to help your sound reach its full potential. Here we offer a comfortable and welcoming studio environment, fine-tuned acoustically to facilitate the most transparent engagement with your project at the most critical

stages in post-production. We always strive to approach your project with the same passion for your artistic vision as you have. Mastering is a process that has evolved significantly over the past 50 years as playback mediums have fallen in and out of favour, most notably between the shift from analogue to the digital technologies of recorded music. Mastering has always involved the engineer creating a cohesive product fit and ready for production. Now more than ever with the democratisation of the record industry and music production through more ubiquitous and accessible technologies, people are creating music in a much wider variety of spaces even within the one album. Record production now occurs not only in recording studios, but also at home studios, project spaces and in bedrooms with different engineers, producers and technologies. Whilst individually each track has it’s own well-developed sonic character, the role of the mastering engineer is to view the project as a whole and create a cohesive product that retains the integrity of the original tracks. With this in mind we at Panorama strive to support your artistic vision and work with you in placing the important finishing touches on your music readying it for duplication and release. We invite all of our clients to be as involved in the process as they wish, there are no extra charges for attended sessions.

“That’s My Favorite Song“ ~ Mastered at PanoramaOn this track, I wanted the rhythm to move with drive and emphasis. I f...
31/05/2026

“That’s My Favorite Song“ ~ Mastered at Panorama

On this track, I wanted the rhythm to move with drive and emphasis. I focused on EQing the transient portion of the kick and controlling the sustain so there was more space between the two!

Find punch, control sustain.
More punch, less body.
More body, less punch.

Your yin-yang is not only in the balance of low-frequencies to high frequencies, but also;
The transients to the sustain,
The loud to the soft
The clean to grit
The notes and the space
Every element in a mix has its counter element, such that without its existence, the sound would live in a vacuum.

So don’t just consider the move you make to “improve” a sound, but more-so the move you make to compliment countering aspects of the sonics.

Produced by
Mixed by
Mastered by

“24/7” ~ Mastered at PanoramaMixed by Mastered by “Tunga” ~ Mastered at PanoramaArtists .koramaster .phillips Produc...
28/05/2026

“24/7” ~ Mastered at Panorama
Mixed by
Mastered by

“Tunga” ~ Mastered at Panorama
Artists .koramaster .phillips
Produced by
Mixed by
Mastrered by

“Trigger Happy“ ~ mastered at Panorama
Produced by
Mixed by
Mastered by

“Gemeinsam Scheitern” ~ EP By Mastered at Panorama
Co-written with
Drums by
Produced by
Mixed by
Mastered by
Label: .warehouse

“Vertigo“ by Aria De Luna Mastered at Panorama
Mastered by

“It’s In My heart” ~ Mastered at Panorama
Produced by
Mixed by
Mastered by

“Music Sucks (F**k You)” ~
Recorded & Mixed by .by.maxwell
Mastered by

“Ocean” ~ Mastered at Panorama
Produced by George Konstantinn
Mixed by
Mastered by

“Dark New Days“ ~ EP by Mastered at Panorama
Produced by
Mixed by
Mastered by

“Alien“ by Mastered at Panorama
Produced by
Mastered by

“What About Now“ EP by Mastered at PanoramaProduced by Mixed by Mastered by “Bones” ~ Mastered at PanoramaProduced by...
28/05/2026

“What About Now“ EP by Mastered at Panorama
Produced by
Mixed by
Mastered by

“Bones” ~ Mastered at Panorama
Produced by
Mixed by
Mastered by

“No Good At Goodbyes” ~ Mastered at Panorama
Mixed by .watts.audio
Mastered by

“Heart Over Head“ by Mastered at Panorama
Produced by
Mixed by
Mastered by

“Telepathic Twin Flame” ~ Mastered at Panorama
Written by
Mixed by
Mastered by

“Alalake” ~ Album Mastered at Panorama
Featuring:
Flute:
Kora .koramaster
Strings
Produced, Recorded & Mixed by @ jaspertrim
Mastered by

“want want want“ by Mastered at Panorama
Mixed by
Mastered by

“Gemini“ by Mastered at Panorama
Produced by
Mixing by
Mastered by

“Wick“ ~ EP By Mastered at Panorama
Produced by
Mixed by
Mastered by

“That’s My Favorite Song“ ~ Mastered at Panorama
Produced by
Mixed by
Mastered by

“in my mind“ by Mastered at Panorama
Produced by
Mixed by
Mastered by

“Forgot How To Love“ ~ Mastered at Panorama
Mixed by .by.maxwell
Mastered by

“Shower Thoughts“ ~ Mastered at Panorama
Produced & Mixed by
Mastered by

“24/7” ~ Mastered at PanoramaSplitting hair on the details. This is a little clutch move that works around 10-15% of th...
17/05/2026

“24/7” ~ Mastered at Panorama

Splitting hair on the details. This is a little clutch move that works around 10-15% of the time. So you can’t rely on it, but when it does work, it’s genius.

I had everything dialed in on this incredible mix by for Drax Project’s latest single 24/7, but in one passage on the last chorus, the kicks waveform was asymmetrical, and JUST on the peak, so intermittently there were a few instances where the limiter was working really hard (5.2dB!!))

It’s hard to pick it, and there’s no science beyond testing, listening, observing, and moving, but automating an all-pass filter somewhere between 20-200Hz to try to shift those transient waveforms back towards a more balanced center can SOMETIMES work!

Check slide 2 to see affect.

Mixed by
Mastered by

“Bones” ~ Mastered at PanoramaThe texture and feel of this song are insane! It pockets so amazingly, and magically.Some...
14/05/2026

“Bones” ~ Mastered at Panorama

The texture and feel of this song are insane! It pockets so amazingly, and magically.

Something I’m always conscious of, and a cool little trick for mastering, is to consider how the side/stereo information complements the center image: MORE MID = more punch, less immersion, more side = less punch, more immersion.

The punch of this mix was stellar to begin with, and I didn’t want to compress it to get into a gel/glued pocket; instead, I brought the mid signal down by -0.5 dB so the sides could envelop the image more!

Produced by
Mixed by
Mastered by

“Telepathic Twin Flame” ~ Mastered at PanoramaDid a full case study on this technique via my YT channel. Wanting to res...
13/05/2026

“Telepathic Twin Flame” ~ Mastered at Panorama

Did a full case study on this technique via my YT channel.

Wanting to respect the flavor and space wonderfully brought to this mix.
As I looked to bring out the width of the mix, the harmonics in the bass line started to lean LEFT.

I did NOT want to be lazy and just PUT IT IN THE CENTRE…. anyone can do that… but what about embracing the stereo field and keeping things lush, open, and still mono compatible?

Here is some automation I added to the right-hand channel: multiband triode saturation to the low-mid band only.

Written by
Mixed by
Mastered by

“No Good At Goodbyes” ~ Mastered at PanoramaWarm low-end with great depth and dimension. fearn VT-7, adds wonderful ri...
13/05/2026

“No Good At Goodbyes” ~ Mastered at Panorama

Warm low-end with great depth and dimension. fearn VT-7, adds wonderful richness and gel to the low-end like no-other.

Paired this with the precision and controll of bass control (Not always pairing these two together but I did in this circumstance)

The key with Bass Controll, is to set the crossover at the top of the punch in the kick (This mix 250hz) and just monitor. Often, it’s a small tweak I make outside of the plugin to get the balance and punch sitting smack on, othertimes like this time I used the peak control to keep the low-end consistent from the kick drum and I leaned on the sustain power (Parallel compression) to thicken up the bass line in relation to the kick.

Mixed by .watts.audio
Mastered by

“Ocean” ~ Mastered at PanoramaWhen mastering heavy records, it’s like a tightrope act, we want LOUD, we want ENERGY, we...
12/05/2026

“Ocean” ~ Mastered at Panorama

When mastering heavy records, it’s like a tightrope act, we want LOUD, we want ENERGY, we want TONE.
Instantly, when pushing up against the ceiling, tone shifts, harmonics, and intermodulation distortion are introduced whether you like it or not.

How do you embrace it and compensate for it?

Here are two things that helped the energy over the line
#01 - (Carousel 2) Triode saturation to the upper mids of the side signal with exciter - This helped bring a nice openness and forwardness to the guitars.
#02 - (Carousel 4) Maximizer in IRCIV modern (Not V like I usually do) The V mode on the maximizer felt a bit to “pudgy” for lack of a better term, as soon as I flicked across to IV, the album masters started locking in wonderfully!

Produced by George Konstantinn
Mixed by
Mastered by

“Alalake” ~ Album Mastered at PanoramaThis album had me working on another level of detail. The tones of the traditio...
10/05/2026

“Alalake” ~ Album Mastered at Panorama

This album had me working on another level of detail. The tones of the traditional instruments like the Kora had me dialed into how every little EQ move affected the harmonics, presentation, and performance on the final master.

This is why I’m such a stickler for hyper-accurate level matching and gain staging when mastering. No fooling myself in the process and always challenging every move in the interest of the record.

It’s simple in practice, but will bash your ego every day;
1. Loop a small component of the signal level, match it to 1/10 of a decibel using short-term LUFs.
2. A/B the process on and off.
3. Get humbled, realizing the changes you made need to be tweaked.
4. Rinse, repeat, and learn from the process.

Big thank you to Jasper for involving me in what I feel will be an album that lives with me for my lifetime. Thank you!

Featuring:
Flute:
Kora .koramaster
Strings
Produced, Recorded & Mixed by @ jaspertrim
Mastered by

“RFL“ ~ Mastered at PanoramaMan, I wanted these drums to thump and move you in the chest, did a killer mix 10/10, I ju...
06/05/2026

“RFL“ ~ Mastered at Panorama

Man, I wanted these drums to thump and move you in the chest, did a killer mix 10/10, I just wanted to make sure we went to 11, so when people put this on, the beat really hits you hard.

A unique way to get some “lift” or bump to the transients in a master, which I haven’t seen in any other tool. The CGII by density function has a unique transfer curve that lifts the signal just below the ceiling.

Produced by
Mixed by
Mastered by

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Keilor East, VIC
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Wednesday 8:30am - 6pm
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Friday 8:30am - 6pm

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