We were lucky to catch up with Thomas Aman recently and have shared our conversation below.
Hi Thomas, thanks for sharing your insights with our community today. Part of your success, no doubt, is due to your work ethic and so we’d love if you could open up about where you got your work ethic from?
I guess my current work ethic stems partly from my imposter syndrome. To give readers some context, at just 23 years of age, I find myself as one of Lacquer Channel Mastering’s in-house engineers, Lacquer Channel being a studio I’ve longed to be a part of pretty much since my arrival in Canada from France back in 2019. The mastering facility opened in 1975 and has done work for some of the greatest artists and bands of our time, such as U2, Rush, Alice Cooper, Peter Gabriel and the Tragically Hip, to name a few. And here I am, a guy from France with a slight accent and still a bit awkward at times because of how starstruck he simply is.
Although I can slowly start to picture the fact that I’ve accomplished something I would have never dared imagining just a few years ago every time I step in the room, there’s always a whisper in the back of my mind, pinpointing the fact that I have somehow bypassed crucial steps to reach this point. Why? Because this is what we are told very early on from established audio engineers: you start as a runner on recording or mixing sessions by getting coffee and Timbits for everyone, from which you move a step higher as an assistant, and only a decade from there can you start considering yourself established.
Me? I was offered the opportunity of a lifetime not even a year into the wild.
So you can certainly understand how much of a fraud — let’s not mince words here — I may feel sometimes. Yet, amidst these doubts, I can count on the relentless support of my inner circle — family and close friends — who continually find ways to argue that my presence here is not merely luck. They believe, as probably does Lacquer Channel’s owner, veteran mastering engineer Noah Mintz, that there is something within me, a quality that propels me forward, even when I struggle to see it myself. I like to believe that I would not be there if I wasn’t doing something right.
This understanding fuels my determination to keep pushing, learning, and experimenting, taking nothing for granted. I’m very grateful for every moment spent here and putting all the odds on my side to hopefully, one day, become a trusted ally for artists across all musical genres. As I reflect on my — very short — journey thus far, I cannot help but be humbled by the magnitude of this opportunity and motivated to continue pushing boundaries, contributing my unique perspective to the rich tapestry of music that has shaped Lacquer Channel and will continue to do so for years to come.
Great, so let’s take a few minutes and cover your story. What should folks know about you and what you do?
Keeping things brief isn’t my strong suit, but I’ll give it a shot. My name is Thomas Aman, a 23-year-old mastering engineer and immersive audio mixer at Lacquer Channel Mastering in Toronto, Canada. I moved to Canada in the summer of 2019, escaping from a small region in northeastern France nestled between the German and Swiss borders. My music journey must have kicked off ca. 2007 when my parents gifted me my first CD stereo system alongside P!nk’s “Funhouse” album. From there, I began amassing a collection ranging from France’s main radio station’s summer and winter radio hits compilations, to the complete discographies of David Guetta and Michael Jackson. My tastes rapidly evolved from French 1980s pop to encompass North American 1980s music, which eventually sparked my love for pretty much every music genre spanning the late 1970s to the early 1990s. There’s a quality in these records that simply captivates me. Is it the magnetic tape sound? The imperfections due to the then all-analog process? The goeyness of vacuum tube equipment? The unmatched punch and clarity of VCA units? Who knows.
This love for music lead me into music production around 2015, then engineering around 2019, and ultimately audio mastering. The most significant aspect of mastering — and I’m certain that you wouldn’t anticipate what’s coming — is… listening. That’s right. We listen rather intently, not only to feel the music but also to understand it. Which elements stand out? Which ones do not? What were the artist’s intentions during the production and mixing phases? Why did the engineer(s) opt for one technique over another? Is there any technical aspect requiring rectification? Should we restore some of that audio? There are a lot of questions that pop into our heads as we perform this initial run-through, and we must tackle them as promptly as possible. Why? Because listening to a mix over and over again allows our ears to grow accustomed to the material, which in the realm of mastering is something we try to avoid at all costs. We need to be able to pinpoint what needs to be addressed right off the bat.
The wisdom of not overdoing comes into play here. It is all about knowing whether to intervene or let the music speak for itself. If a mix doesn’t require fixing, if it already conveys the artist’s vision and intention effectively, then our job shifts to enhancement, rather than imposing unnecessary changes. However, if there’s an aspect that could benefit from emphasis or adjustment to ensure its compatibility across various devices and streaming platforms, then we explore those possibilities. Our mission as mastering engineers can pretty much be summed up in a delicate balance between restraint and intervention, all the while bearing in mind this ultimate goal of serving the music before anything else.
Another crucial yet oftentimes overlooked aspect of the mastering process is creating appropriate deliverables suitable for all kinds of devices and streaming platforms. In today’s digital context where music is consumed across a wide array of platforms and devices, it is essential to ensure that the final product translates seamlessly across different mediums; whether it’s optimizing the audio for headphones, car stereos, or high-fidelity speakers, or ensuring compatibility with streaming services like Spotify or Apple Music, we shall tailor the deliverables to meet these diverse needs. This involves not only technical proficiency but also an understanding of the specific requirements and limitations of each platform, as well as a commitment to delivering a consistent and high-quality listening experience regardless of the playback environment.
Looking back, what do you think were the three qualities, skills, or areas of knowledge that were most impactful in your journey? What advice do you have for folks who are early in their journey in terms of how they can best develop or improve on these?
I would consider myself very much early in my journey, yet there is a few things that I have implemented and principles I am trying to abide by on a daily basis.
Having an insatiable thirst for knowledge certainly goes a long way. I make a conscious effort never to be the smartest person in the room, for one good reason: if you are the smartest in the room, you’re not learning anymore. It would be incredibly pretentious of me to have the confidence to state that I know everything there is to know about mastering, even years down the line. The music industry is constantly evolving — and by that I mean every day — and it is our duty, as mastering engineers and very last touchpoint in the songmaking process, to remain on top of all trends and be aware of all innovations to elevate every project to its fullest potential.
That being said, my second observation is that there’s no such thing as perfection. I can definitely notice a pattern with new, upcoming artists, which is the struggle to finish songs or larger projects because said projects are supposedly not perfect when referenced to others’. To me, chasing perfection is amongst the most unproductive and detrimental things you could possibly do in this industry. Music is about creating what feels right to you and conveying your emotions the way you envision it, not meeting an arbitrary standard. From a mastering standpoint, perfection is client satisfaction. All of us at Lacquer Channel Mastering abide by one simple statement: if you are happy, we are happy.
Though perfection is not quite a thing in my humble opinion, this should not be in any way, shape, or form, an excuse for ignorance. I firmly believe in embracing shortcomings rather than finding a way to hide them and invent excuses to my clients as to not put me in a light I’d otherwise consider uncomfortable. A significant part of mastering is the trust that the artists and engineers place in me, and I’d much rather find a way to sublime a project with the tools and knowledge I have at my disposal rather than hindering the inherent essence and quality of the project by inventing excuses or not telling the absolute truth. I certainly prioritize transparency and honesty with my clients.
Any advice for folks feeling overwhelmed?
As an audio engineer, I pride myself on maintaining a level-headed and rational approach to my work. This state of mind enables me to navigate challenging situations with calmness and logic, ensuring that any technical hiccups do not disrupt the creative flow of the artists and musicians I work with. In the realm of audio engineering, where every session is a delicate balance of artistry and technology, it is of utmost importance to foster an environment free from unnecessary stress.
Whenever an issue arises, whether it’s a minor hiccup or a more significant technical challenge, I prioritize open communication with everyone involved in the session. This transparency not only fosters trust and collaboration but also allows for a swift and efficient resolution of any problems that may arise. By staying grounded and approachable, I’m aiming to create a supportive atmosphere where creativity can thrive, even in the face of adversity.
Contact Info:
- Website:www.thomasaman.com
- Instagram: @itsthomasaman
- Other: Portfolio Instagram account: @thomasamansound
Image Credits
Thomas Aman, Desiree Da Silva
