Incidence Studio is celebrating its first anniversary. The mastering studio, built entirely by hand by producer and former Fuse booker Pattrn (real name: Brice Deloose), was designed in collaboration with iDeal Acoustics and developed around the outstanding Kii Three loudspeakers. Incidence Studio offers its clients — including Ness, Polygonia, GiGi FM, and Sebastian Mullaert — tailored precision work, the purest signal path, and the most accurate, reproducible monitoring environment at the highest technical and acoustic level. In this interview, the Initiate Concept label head, who also shares his expertise on YouTube and Instagram, talks about his mastering studio.
Brice, before we dive into the nerdy stuff: you are the former booker of the legendary Brussels club Fuse. What made you leave that job behind?
I was frustrated because I barely had time for my own projects. On top of that, I was bothered by the dynamics with some bookers who cared more about ego and show than the music itself—from flyer placements to hotel demands. It often felt more about prestige than sound.
Let’s talk about Incidence Studio. Give us a glimpse into the technical setup, the gear, and the software you use. What makes your mastering studio special?
When it comes to optimizing sound, the most important thing is to truly hear what’s in the music—without any coloration from the speakers or the room acoustics. I work entirely in-the-box to avoid sources that might generate sound reflections. I’ve invested heavily in room design, acoustic treatment, active bass traps, and the rather expensive Kii Three BXT monitors, which provide an accurate and transparent sound image. They go all the way down to 20 Hz—lower than some club subwoofers.
You built the studio entirely by hand. What was the hardest part of the process?
It took me nearly four months, working more than eight hours a day. The hardest part? The isolation and the constant questioning of whether it would all be worth it. My budget was limited, and I wasn’t willing to compromise on studio quality, so hiring outside help was out of question. I rolled up my sleeves, got my hands dirty, and spent hours watching construction tutorials. My feed is still full of that kind of content.
In your opinion, what’s essential in mastering? Do you have any tips for bedroom producers?
You need a proper monitoring setup that covers 20 Hz to 20 kHz with a linear frequency response and solid stereo imaging. You can easily build some DIY acoustic panels that already make a big difference when placed at early reflection points in the room. For low-end treatment, unfortunately, it’s a bit trickier—panels quickly become expensive or take up a lot of space. Electronic music contains a lot of sub frequencies, but most small speakers don’t go below 40 Hz. That leads to inaccuracies in bass reproduction. With a limited budget, I’d always prioritize investing in room acoustics or larger monitors over buying expensive synths or audio interfaces.
Or… you can get in touch with a professional mastering studio. How do you approach a mastering job?
I use a variety of tools to achieve the desired result, but always tailor the process to the individual track. First, I remove unwanted elements like resonances or excessive low-end, then I control dynamics, stereo imaging, and mono compatibility. After that, I fine-tune the sound using exciters and subtle EQ adjustments. The track’s style determines the approach—a piano ballad requires transparency, while house music benefits from added warmth. Communication with the artist is crucial to achieving the best possible outcome.
Any golden rules for artists submitting tracks for mastering?
Sending the right file is a good first step (laughs). Also: make sure there’s enough headroom and check your bass. A lot of tracks have way too much low-end.
From FAZEmag 157/03.2025
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