The Mastering Show · The Mastering Show Podcast

The Mastering Show #101 - Mixing and mastering Brian Eno - with Emre Ramazanoglu

September 5, 2025·1 hr 5 min·4 clips

A missing chord tone turned out to be a filter resonance move on Another Green World.

1. The Mastering Show #101 focuses on Brian Eno catalog work in Dolby Atmos, especially Forever and Ever No More, Another Green World, The Ship, and Aurum. 2. Ian Shepherd hosts and introduces Emre Ramazanoglu as a returning guest, while Emre explains the mastering and Atmos choices behind the Brian Eno projects. 3. The episode asks what happens when Brian Eno does not want an Atmos mix to mirror the stereo and instead wants “everything to be different.” 4. Emre says he first delivered a coherent immersive version of Forever and Ever No More, then Brian Eno came into the room and redirected the whole concept. 5. He describes Eno wanting the vocal “floating in the middle,” which made the Atmos front-heavy default feel wrong for the record. 6. Emre says some tracks ended up with bass almost mono in the bottom back right corner, while other parts were moved and balanced around a concept rather than stereo translation. 7. He credits Peter Chilvers with sending “the best stems I’ve ever had delivered” and with keeping the source material organized across multiple Logic sessions. 8. Emre says Peter Chilvers has been involved in nearly every mix since the first round, listening, flagging issues, and adding context from how the music was made. 9. Another Green World became a different kind of job because the digitized tapes and multitracks did not behave like a normal seventies session. 10. Emre says the record used a lot of culling, experimenting, committed processing, and tape edits, so he rebuilt stereo matches before trying to open the album into Atmos. 11. He says the original chain included a Helios, 1176, a couple of Pultecs, an H9, and a gold foil plate, which he had to approximate with plug-ins and careful EQ. 12. On one track, he could not find a missing note until he heard it emerge from a filter resonance move, then recreated it with a Moog filter. 13. He says some tracks were actually two multi-tracks overlaid together, with crossfades and edits that only made sense after detailed reconstruction. 14. Emre also talks about the track Becalmed, where the pitch and sound differed so much from the multitrack that he had to push the source roughly 130 percent to approach the record. 15. He describes The Ship as an immersive installation with specific speakers such as a Fender Twin, a Jazz Chorus, hi-fi speakers, a PA speaker, and an NS10, all recreated virtually. 16. For Aurum, he says Peter Chilvers wrote software that randomly selected three pieces from a large archive, and Brian Eno then reacted to changes by ear. 17. Emre says one early reaction to a changed Aurum combination sounded wrong at first, then improved after about 10 minutes, which he takes as a lesson in getting used to mix changes. 18. The conversation is technical, informal, and collaborative, with Ian Shepherd interrupting, asking detailed follow-ups, and comparing notes with Emre on what Brian Eno heard. 19. Listeners who enjoy mastering, Atmos, and Brian Eno’s studio methods should get a lot from it. 20. People wanting quick artist gossip or light music chat will probably skip it.

As heard by us

A patient mastering conversation about restraint, tools, and rebuilding Brian Eno soundworlds.

Brian Eno sits at the center, but the episode really turns on mastering: how far modern plugins can be pushed, and where restraint still matters.

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Why you'd press play

Press play if you want mastering talk that gets into judgment, not slogans.

Read the full recommendation in PlayNext →

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