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Mastering Engineer Scott Hull Relies on Prism Sound Converters

Scott Hull Mastering in New York City now includes Prism Sound AD-2 and DA-2 converters. Hull states that he has long relied on the company’s audio converters in his work, and his credits include Herbie Hancock, David Bowie, John Mayer, Bruce Springsteen, Amy Grant, Skillet, Edie Brickell and John Zorn.

“I have always insisted on Prism Sound converters and I know that if I didn’t have them, I’d really miss them,” he says. “To my ears, they are what good mastering sounds like: flexible, wide, dynamic and not colored in any way. They seem to disappear into the chain, which means they work for me rather than me having to work around them.”

Hull started out with Bob Ludwig in 1984 and soon became Ludwig’s assistant and digital editor at Masterdisk in New York City. When Ludwig opened his own facility in Maine in 1993, Hull took over as IT specialist at Masterdisk and spent the next 15 years mastering projects such as Donald Fagan’s Kamikiriad, Garbage’s Version 2.0 and Shawn Mullins’ Lullaby.

“Bob Ludwig was a wonderful teacher and mentor. He showed me the humanity of mastering and taught me to rely on my ears when in doubt,” Hull says. “But after 15 years at Masterdisk, I decided it was time to strike out on my own. I moved my operation to Classic Sound, assembled my own room full of analog and digital mastering gear and mastered Grammy winner Steely Dan’s Two Against Nature and John Mayer’s Room For Squares. It was a wonderful time in my career and taught me those things you can only learn in a trial by fire situation.

“Music is my passion,” Hull concludes, “and I’m equally passionate about the equipment I use to create my sound. Over the years I’ve tried many different converters in many different rooms but I always come back to Prism Sound because I have yet to find any kind of music that they are inappropriate for.”

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