Don't sweat the noise too much! Harold talked about derressering masters, iZotope RX ninja tips, phase aligning mixes, how to use mid side eq, mastering Moogs, bass wins in big vs small control rooms, LUFS targets, and why linear eq + hip hop = bad.

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My guest today is Harold LaRue, a GRAMMY-winning mastering engineer in Houston, Texas. Harold's recent clients include contemporary jazz masters: The Wayne Shorter Quartet, Terri Lynn Carrington, and Joey Alexander — synth sorceress: Lisa Bella Donna, and R&B legend: Jeffrey Osborne.

Harold has worked as a software developer, pro-audio service manager, theatrical sound engineer, and restaurateur and was the monitor engineer for the Houston Symphony Orchestra before leaving to focus on his growing mastering business.

As an audio educator, Harold has developed and taught studio production and mastering courses at universities and recording schools across the country. He continues to present public workshops and teach privately. He is a Voting Member of the Recording Academy's Producers & Engineers Wing, Audio Engineering Society, and the International Alliance of Theatrical Stage Employees. Check out our previous interview on episode RSR225 to learn more about Harold's backstory.

I want to dedicate this episode to the late great audio designer and engineer Glenn Coleman whom Harold introduced me to at NAMM 2020.

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Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/58TfiVHWwU5CSfNoamAErb?si=55dc63a967b24511

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