Glenn Meadows, the revered mastering engineer whose name was long synonymous with Masterfonics Studios, joined Mayfield Mastering several months ago and recently went online with a new room within the facility. Meadows worked with Mayfield associate Mike Poston and contractor John Poston (Mike Poston’s son) to maximize the usability of an 18×16-foot room, and employ the acoustical principles that Meadows has learned after decades of working in Tom Hidley–designed studios.
“It’s a minimalist approach,” Meadows says. “It’s a table with a granite top and two LCD monitors in the front, and a keyboard and monitor controller on it. It’s open underneath so the sound goes under the desk and is not obstructed by the console. We used a lot of specialized baffle trapping—what Tom [Hidley] calls his active trapping and flanking blankets. We used a lot of front-wall rigid surfaces so there’s no resonance in the room.”
Meadows monitors via PMC IB-1 speakers powered by Bryston 7B amps, and he works almost exclusively in the box, using Sadie V. 6 and Weiss converters. “My plug-ins are iZotope Ozone,” he says, “and I’m playing with the new Slate FX-G, using Paul Frindel’s Dynamic spectrum mapper at times. I also have access to the analog gear John has in his room, which is a rainbow assortment of Avalon EQs and Prism compressors, et cetera, so if I need something like that, I can go and grab it.”
Meadows has been busy with a variety of jazz, gospel and contemporary Christian projects. “John has been open to whatever I needed to get re-established,” Meadows says. “I’ve also helped him sort out some issues with his room and covered projects for him when he’s overloaded. The clients have been very happy, and that’s the bottom line.”