Our Engine / Ear

Mastering is not only a science, but an art form - meet our artist

The ear behind Violet Lantern Mastering belongs to Wes Osborne.

Wes started his career in the early nineties as a DJ and buyer for three of the most prominent record stores in Los Angeles and Orange County during that time. Within a handful of years, he was becoming known as the ‘go-to’ man, serving a massive clientele of famous DJ’s, producers, and celebrities alike. This, in turn, led to performing at exclusive events and festivals throughout the world.

What many didn’t know though, was that he was becoming an avid producer and engineer as well.

Devoting over a decade of his life to the scene, Wes then saw a shift of the culture around 2000, with the introduction of iTunes bringing in a new era and decreasing the movement of vinyl. It was then that he decided it was time for a change, and with the guidance of a close friend, made the move to Dana Point, California, where he established what would be his longest-standing studio over the course of 10 years. This is where / when VLM started, and maintained a presence for another 10 years.

During this time, Wes dug into production on a much more serious level, remixing The Mars Volta among many other projects, as well as sound designing, mixing, and mastering. Then, through the referral of a close friend that worked at Stones Throw Records, Wes was asked to try his hand (and ear) at mastering for one of the most ground-breaking independent record labels in the states.

The rest, as they say, is his story.

Fast forward 4 years and we are in 2015, with his body of work encompassing some monumental releases, including J Dilla’s Donuts (re-mastered), Dam-Funk & Snoop Dogg, Blu & Exile, Strongarm Steady & Statik Selektah, Free The Robots, Sheridan House, Oh No, Karriem Riggins, Jon Wayne, Shana Halligan, Slow Hands, Anika, Bosq, Ohmega Watts, Darondo, Sam Gellaitry, and many more.

Wes has also beta tested for world-renowned engineer and designer Dave Hill of Crane Song and Dave Hill Designs. If you ask Wes, one of his greatest honors as a mastering engineer was being acknowledged in the owner’s manual of one of Dave’s latest and greatest creations, the highly acclaimed Dave Hill Designs Titan limiter / compressor.

Wes actually took part in troubleshooting, which led to revisions on the Titan – and Dave honored Wes with the prototype.  Wes is also mentioned in the manual next to the likes of Fab Dupont, one of the most sought-after producers in the industry.

With names likes this in your circle, you must be doing something right – and with music being such a big part of Wes’ life for over 20 years, it shows with the company that he keeps – and the work he has done.