BALDO's mastering? hahahaha natawa ako dun ah.. ala akong mastering house pero meron akong alam sa NYC, i can even hand it over to them.. pero it will cost you an arm and a leg and maybe more.. 300$ a song pag ayos..pag hindi 100$/hr minimum 4 hrs. 
.. so if its within your budget , just tell so i can send it to them.
pero kung hindi pasok sa budget, sa akin sige libre na first song kung gusto mo hehehe..
New York? Baka naman si George Marino of Sterling Sound yan... O mas mahal pa?
Sir, may I ask? What compressors do you have? Do you also have Pultecs? What are your D/A and A/D converters? What different set of monitors do you have? I also look forward to some Multi-band compression and probably a nice reverb unit for mastering. Also don't forget the harmonic exciters. Because if you have these, maybe we can transact...
I would like to address something if I may just so others may know a bit of info about the recording-mastering chain of processing.
Whether you have outboard compressors like Pultecs, Fairchilds, Tubetechs, Manleys or APIs, the most important element of the mastering process is to have a good song foundation to process. The promise of a good master starts with the recording itself - at the mic, at the mixer, in the hands of the recording engineer. This being said, the usage of high end AD converters from the likes of Sytek or Apogee does not matter when you have something that was originally recorded poorly with less than enough headroom, or quality, for a mastering engineer to manipulate. Remember, an AD converter only converts the information in the original song into digital information so an ACCURATE representation is presented to the audio interface pathway and, ultimately, the house monitors. An AD converter does NOT - and I can't stres this enough - make something sound better than it really is, in fact, a good AD converter will expose every fault and blemish in your original recording. This is why you pay out the nose for the converters in PT HD, Apogee, RME ADI, Benchmark, or Sytek, to name a few; you WANT to see every bad thing in your mix and fix it before it goes to the mastering house.
I would just like to throw this out there so other fellow recording enthusiasts know that there is no such thing as "fixing something later on." If anything, it is a bad habit that I have always been taught to avoid. Your main task is to get as good a recording as possible so the mastering engineer and mixing personnel have ample material to improve your work.
