Maserati began college at Northeastern University before transferring to Boston’s Berklee College of Music in the early 1980s.[3] He originally majored in Composition, but switched to the Music Production and Engineering major when it was first offered in 1983.[4] While at Berklee, he learned to mix by doing the sound for the Marsells.[3] He graduated with an MA in 1986.[5]
In 1989, Maserati went independent, specializing in mixing, setting him apart at the time since most musical engineers focused on production.[8] During his time at Sigma Sound, Maserati had befriended studio managers around the city, and he contacted them requesting work on R&B and Hip-Hop.[1] While most mixers worked on rock, Maserati claims he focused on R&B and Hip-Hop because it “was the only place where innovation was happening.”[6]
Maserati was introduced to Puff Daddy in the early 1990s through the producer Devante Swing. Puff Daddy brought Maserati into Bad Boy Records and, Maserati claims, Puff Daddy "locked me down" for the following six years.[6] As a result, Maserati worked with every major New York R&B and hip-hop artist of the 1990s, including mixing albums for Busta Rhymes, Mary J. Blige, The Notorious B.I.G., Faith Evans, and Queen Latifah.[6] Maserati regards these years as very collaborative, and he allowed the various artists to work with his analogue equipment to help develop their desired sound.[6] According to Mix magazine, Maserati provided the definitive sound of New York hip-hop in the form of heavy bass lines while also providing high fidelity sounds on the other end of the scale.[9] According to Sound on Sound, the result was a "huge low end and a smooth, velvety high,"[7] and which Mix labelled an "outhouse on the bottom, penthouse on the top".[9]
Throughout this period, Maserati worked mostly with analogue consoles rather than digital tools.[5] This required enormous amounts of space and specialized equipment. To fit it all in, Maserati built his own studio, Una Volta, in a barn in upstate New York.[10] In 2008, he began working with his long-time collaborator Jason Mraz on the album We Sing. We Dance. We Steal Things, for which Maserati was nominated for a Grammy in Best Engineered Album, Non-Classical.[11]
Los Angeles
While his upstate barn provided the needed space for his equipment, Maserati disliked being so far from the city and the intimate collaborations of the studios.[5] Around the same time, the music scene was decamping from New York to the West Coast.[10] In 2010, Maserati moved to Los Angeles where he was able to get large amounts of space while still being within the city.[5] However, he left most of his bulky analogue equipment in New York, which pushed him to adopt more of the digital equipment for mixing and automation.[10]
In 2011, Maserati and songwriter Stefan Skarbek co-founded Mirrorball Entertainment, LLC in North Hollywood. Maserati worked with studio designer and acoustician Martin Pilchner to create modular studios in which each room could be redesigned to meet the specific needs of the production team renting the space.[12] Maserati and Skarbek offered their production services in the space, allowing whole albums to be produced, published, and recorded on site.[8] The integrated approach had Maserati directly mixing major tracks and overseeing the remaining tracks mixed by his assistants and mentees.[5] Maserati is a client with Pulse Recording.[13]
