Cicely Balston is one of London’s top mastering engineers, having established herself as a leading figure in the industry since 2013. Known for her expertise across digital and vinyl formats, she has worked with a wide range of artists and genres, including David Bowie, Nubya Garcia, Eric B. & Rakim, Usher, Simply Red, Ludovico Einaudi, and Porcupine Tree. Her talent was recognized last year when she won the Music Producers Guild's Mastering Engineer of the Year award, after being shortlisted in 2021.
Cicely's portfolio also includes an impressive range of soundtracks for film and TV, such as Harry Escott’s BAFTA-winning score for Roadkill, Self Esteem’s score for the National Theatre’s Prima Facie, and Roger Goula’s All That Breathes, which won Best Documentary at both Sundance and Cannes. Recently, she’s worked on albums for Palace, girli, Witch Fever, David Gray, and Max Richter, showcasing her versatility in working with both legendary artists and up-and-coming talent.
In this Q&A, Cicely talks about her experiences in music mastering, sharing insights into her work with various artists and her time at Abbey Road Studios.
How did you begin your career in the music industry?
I always played instruments growing up, and although I loved playing I never particularly wanted to be a performer. I remember getting interested in what was going on in the background of recordings - looking at the CD liner notes and seeing all these names and roles being listed. While I was studying (I went to Surrey University and did their Tonmeister degree) I did a placement year and was able to work at a few different studios/music companies, one of which was a really lovely mastering studio/record label called Gearbox Records and it all went from there really!
Describe a day in your life as a mastering engineer.
I like to get in earlyish (to give me a bit of time before the emails start kicking off), I work out what I need to do for the day, write myself a list (which gets added to if things come in) and then get to it! The job changes with every project, but if I’m starting an album I get all the mixes in, take a listen through and work out where I’m going to start, what kind of sound I think I want to be going for and check if there’s anything I need to ask about on the mixes. And then usually the day will be a blend of new projects to master, either with or without the artists or producer present, cutting vinyl master lacquers, tweaks/changes on projects I’ve already started and general admin/chatting to my colleagues/drinking coffee etc
What drew you to mastering other roles in music production?
I really like the balance between technical (knowledge of formats and equipment etc) and creative in mastering - it’s amazing how much you can sculpt the sound even when just working from a mixed stereo WAV. I also love being part of the final stages of the creative process and really helping people to realise their creative vision and getting them on their way to their music being out in the world.
You’ve had the opportunity to work on high-profile projects, such as remastering David Bowie’s back catalog. Can you share one of your favorite moments in your career?
That particular project was amazing start to finish, but within that one I think listening to the original half inch tape masters of Let’s Dance, which was the album I knew best before starting the project, is something I’ll never forget! More recently I won the Music Producer’s Guild ‘Mastering Engineer of the Year’ in 2023 and walking up to collect the award having heard my name announced was an incredible feeling and a huge career highlight.
3 essential things you always carry with you in your bag
Earplugs! I have moulded ones from ACS and I cannot recommend them highly enough, I wear them at gigs, in pubs, on the tube - both for hearing protection but also if I’m getting a bit overwhelmed. Headphones - I have some Sonos headphones that I like, or smaller Fairphone ones for out and about. And I generally have some lip balm somewhere on my person - long hours in air conditioned rooms leaves me needing it!
One piece of advice you'd give your younger self
I’d tell myself to work hard, but to feel more confident to do what’s right for you - sometimes turning down an opportunity that isn’t quite right actually leaves space for opportunities that fit you better to come in.
What are you listening to at the moment?
Right now I’m in a guitar band renaissance which is involving a lot of Green Day, anything by Illuminati Hotties and there’s a new EP from Charly Bliss that I’ve been playing on repeat.