"This was the most satisfying mastering experience of my life. Exquisite master, thank you from the bottom of my heart." – JD Souther
(Eagles, Linda Ronstadt, Bonnie Raitt, James Taylor)
"I like the way it breathes, almost like the compressor/limiter holds it up in the air, like the 'old' days. Great work." – Dave Davies
"Thank you! You are such an artist. Between you and Jim Anderson you could eat the sound." – Patricia Barber
(Blue Note recording artist)
"God, Alan, I will always say your name in reverential tones from this day hence! What a masterful job of melding the disparate elements together. Just wonderful... nothing missing, nothing intruding... affectionately, Jim" – Jimmy Webb
"I felt as though I had heard my recordings for the first time." – Judy Collins
(re-mastering of 1962-1965 analog master tapes)
"Wonderful! I've never heard mastering do what yours did. The music jumped off the page. What you do is breathtaking and magnificent." – Jane Ira Bloom
(Winner - Jazz Journalists' Soprano Sax Of The Year 2001)
"You did such amazing things with the sound -- you are practically a member of the band!" – Nora York
"This is the best mastering job I've ever heard. Thanks for the great and caring work." – Todd Barkan
(Artistic Director - Jazz at Lincoln Center)
"Oh my God, Alan. Master approved!! Beautiful, refined and unique. We are touched by your brilliant work!" – Miranda Kassin
"Sonic wizardry!" – Bob Christianson
(Composer/Great Immediately Productions)
Alan has mastered numerous Grammy Award CDs, including world music sensation Lagrimas Negras, nominated for Record of The Year, Album of The Year, and Best Engineered Record at the Latin Grammy Awards. Alan began his engineering career in the '80s, assisting at Electric Lady Studios, working with producer Mutt Lange, The Rolling Stones, AC/DC, Hall and Oates, and Foreigner. He then moved on to become a staff engineer at A&R Recording Studios, working with legendary producers Phil Ramone and Arif Mardin, and artists Billy Joel and Judy Collins. At A&R he also recorded and mixed music scores for directors David Mamet, Richard Attenborough, Francis Coppola, and Frank Oz, and for major film composers Elmer Bernstein and Ralph Burns.
When the studio went dark in the early '90s, Alan began working freelance, producing records for Judy Collins as well as continuing to record scores for feature films, engineering the soundtrack of the United Artists musical adaptation of The Fantasticks. He later worked as a music supervisor for Sesame Workshop, producing music and directing Muppet performers and celebrities for the Sesame Street network television specials Elmopalooza and Cinderelmo. Alan turned to full-time mastering in 1996 and celebrated mastering his 60th Grammy Award project in 2015. He received critical acclaim for re-mastering the RCA and MCA back catalogs of the British supergroup The Kinks for hi-resolution SACD, for his restoration of the soundtrack for the Americana cult-classic Heartworn Highways, voted by the editors of Sterophile as one of the "Top 66 CDs of All Time," and for an SACD featuring Norah Jones. He still returns to recording on occasion, having recently engineered the orchestral scores for the films Kinsey and the Disney Company's Casanova. He has co-produced the opening title song for the major motion picture, "And So It Goes," from director Rob Reiner. Recent mastering projects include releases by Keith Richards, Earl Klugh, JD Souther, and Ivan & Alyosha, and The Afro Latin Jazz Orchestra. In 2014, four of the eight Grammy nominated albums in Latin Jazz (4-NARAS, 4-LARAS) were mastered by Alan at Arf! Mastering. In 2015, he co-produced, mixed, and mastered "Strangers Again," a new album by Judy Collins featuring duets with Willie Nelson, Jackson Browne, Jimmy Buffett, Michael McDonald and Jeff Bridges. The album reached the Billboard top--100, putting Ms. Collins back on the charts for the first time since 1982. Reviewers have given effusive raves to the album's music and sound.
Alan is active in the Audio Engineering Society and has chaired workshops in high-resolution mastering at the Society's national conventions. He teaches the art of mastering to undergrads in the Clive Davis Institute of Recorded Music at NYU's Tisch School Of The Arts, and to graduate students in the Tonemeister program at NYU-Steinhardt.