Tony Maserati: Biography, Credits, Grammy Record and How He Mixes

Engineer biography · Tony Maserati

Tony Maserati mixed much of Mary J. Blige's My Life, worked on Bad Boy's biggest records in the 1990s, and went on to mix Beyoncé's "Crazy in Love," Robin Thicke's "Blurred Lines" and P!nk's "Just Give Me a Reason." He also has his own line of Waves plugins.

He is often said to have won a Grammy for "Crazy in Love." The song was nominated for Record of the Year, with Maserati among its credited engineers/mixers. The Grammy he won, according to the Recording Academy, was for the album it came from, Dangerously in Love.

Boston: from pre-law to Berklee

Maserati did not set out to be an engineer. In a 2001 Mix magazine profile he said he started at Northeastern University in Boston, heading for law school, while singing and playing guitar in a band. When he realized he did not want to be a lawyer, he moved to Berklee College of Music to study composition. For money he ran sound and lights for a ten-piece R&B revue that played three venues a week. His sister's Marvin Gaye and Diana Ross records had already given him the R&B bug.

When Berklee launched its Music Production and Engineering major in 1983, he switched into it and started studying the records of Bob Clearmountain, Neil Dorfsman, Roger Nichols, Steve Hodge, and Jimmy Jam and Terry Lewis. Berklee's alumni records list him as class of 1985 (one college page says 1986). Some bios add a master's degree, which Berklee's pages don't mention. In 2021 Berklee gave him an Alumni Achievement Award. The name Maserati, he has explained, is simply the English phonetic spelling of his Italian family name, Masciarotte. No birth date or birthplace has been published.

Mid-1980s–1989: Sigma Sound and Full Force

As he tells it, he went straight to New York after school and tried the Power Station first. There was no job, but a staffer he had played hockey against as a kid pointed him to Sigma Sound, then in Manhattan upstairs from the Ed Sullivan Theater. Sigma, owned by Philadelphia engineer Joe Tarsia, was busy with remixes, machine-driven records and jingles, so he worked on everything from horns and strings to vocals. Sound On Sound lists Whitney Houston, Lisa Lisa and Tom Tom Club among the acts. He admits he arrived overconfident. At a 2004 Berklee master class he recalled two engineers telling him he knew nothing, after which he threw himself into studying the technology. In 2001 he described riding the subway every morning with his SSL manual.

His break came through engineer Glenn Rosenstein, who let him assist on sessions for the Brooklyn production team Full Force and then recommended him when they needed an engineer. One early job was Samantha Fox's "Naughty Girls (Need Love Too)," which he called his first mix ever in a 2015 Red Bull Music Academy interview. The single reached No. 3 on the Billboard Hot 100 in 1988. Full Force, he says, taught him arranging. Discogs lists his mixes and remixes from those years for Lisa Lisa & Cult Jam, Cheryl "Pepsii" Riley and James Brown's "I'm Real."

After Sigma closed, he became the coordinator who booked Full Force's sessions around town, and he made friends with studio managers such as Barbara Moutenot at Skyline and Laura King at Chung King. Once Full Force built its own Brooklyn studio, those managers kept him busy with the R&B and hip-hop sessions many young engineers then avoided, for clients such as Heavy D, Brand Nubian and Poke & Tone. Sound On Sound dates his move to independent work to 1989.

1990–1997: DeVante, Puffy and Mary J. Blige

Laura King also made the introduction that changed his career, booking him on a Chung King session with DeVante Swing of Jodeci. During one of those sessions, around December 1990 or 1991 by his own account, Sean "Puffy" Combs asked who the engineer was and soon called him in. They worked together for six or seven years. He describes the early Bad Boy sessions as creative rather than factory-like, with Puffy steering the sound closely. Maserati knew the MPC and sampling, and he learned early that the grit in a sample was usually intentional, so cleaning it up was a mistake. And while many engineers of the era never let anyone touch the console, he taught his clients to run SSL automation themselves.

Mary J. Blige became one of his key artists. He engineered on her 1992 debut, What's the 411?, and on My Life (1994) he recorded several songs and mixed eight, including "Mary Jane (All Night Long)," "My Life," "Mary's Joint" and "Be Happy." Puffy wanted a new mix of "Be Happy" after a first one by Prince Charles Alexander, as Maserati remembers it. In the Hit Factory's Studio 2, with its pair of old Neve 8068 consoles, Maserati spent the whole first day just comping the vocal on analog tape, riding faders to catch the right breaths. The mix took three or four days, and it is still one of his favorites, he says.

He tells a more bittersweet story about The Notorious B.I.G.'s "One More Chance." By his account he tracked Faith Evans's vocals and Puffy's additions and spent two to three weeks on the mix in the Hit Factory's Studio A. When Puffy was too tired to print it at 3 a.m., Prince Charles Alexander printed it instead, and Maserati says he never got proper credit. The single's streaming credits name yet another engineer, so the story rests on his word.

For the rest of the decade he stayed at the center of that scene. He was an engineer and mixer on Faith Evans's Faith (1995) and mixed on The Notorious B.I.G.'s Life After Death and Puff Daddy & The Family's No Way Out (both 1997). Mix's 2001 list of his work adds "Mo Money Mo Problems" and "Been Around the World." On Mariah Carey's Butterfly (1997) he mixed "Honey," "The Roof (Back in Time)" and "Breakdown." Mix described his trademark as big, powerful bass under a smooth, classy top. He calls it a compromise between clients who wanted the heaviest possible bottom and his own wish for clarity.

1997–2004: Hit Factory years and Crazy in Love

In the early 2000s his home base was Studio 3 at the Hit Factory, where he spent about two years. He mixed on SSL's J Series, which he adopted early because he preferred desks without VCAs. His client list widened fast. He mixed Marc Anthony's "I Need to Know" (1999), whose Spanish version, "Dímelo," brought him a Latin Grammy nomination for Record of the Year in 2000, and Jennifer Lopez's "If You Had My Love" (1999). Seven tracks on Destiny's Child's Survivor (2001), including "Survivor" and "Bootylicious," were his too, as was Alicia Keys's "Mr. Man" from Songs in A Minor. When Mix interviewed him in September 2001, he had just come off a late-night Keys session in Studio 3.

He also spent long stretches in Los Angeles. While he waited to start the Black Eyed Peas' Elephunk, Geffen/A&M chief Ron Fair put him to work with Christina Aguilera, and the Record Plant became his LA home for months at a time. He mixed "Can't Hold Us Down," "Fighter" and "Get Mine, Get Yours" on Aguilera's Stripped (2002), while Dave Pensado mixed the album's ballad, "Beautiful." On Elephunk (2003) he mixed most of the album, including "Where Is the Love?"

He mixed eleven tracks on Beyoncé's first solo album, Dangerously in Love (2003), including "Crazy in Love," "Baby Boy" and "Naughty Girl." In his recollection, he had already laid out "Crazy in Love" in the Hit Factory's Studio 3 when word came that Jay-Z was getting on it. He cut the arrangement open for the verse, Pat Thrall recorded Jay-Z, and rebuilding the SSL automation to get back to the mix everyone loved took three days. He says that is one reason he later left console automation for a Pro Tools controller.

At the 46th Grammy Awards in February 2004 he was nominated for Record of the Year twice ("Crazy in Love" and "Where Is the Love?") and for Best Engineered Album for Elephunk. Dangerously in Love won Best Contemporary R&B Album, and the Recording Academy's listing names Beyoncé as producer and Maserati as engineer/mixer. It is still his only Grammy win. The song's own Grammy, Best R&B Song, belongs to its songwriters. A year later he was among the credited engineers/mixers on Usher's Album of the Year nominee Confessions, for which he mixed "Take Your Hand."

2004–2010: Una Volta, Jason Mraz and the Waves plugins

In the mid-2000s he bought a country property and built a studio, Una Volta, in its barn in upstate New York. He planned to do perhaps 30 percent of his work there. By 2009, he told Mix, it was closer to 85 percent, as his Manhattan bases such as the Hit Factory closed. The setup was a hybrid of Pro Tools automation, analog summing and racks of outboard, and around this time he stopped printing mixes to tape.

The best-documented mix of the period is John Legend's "Save Room" (2006), mixed on Pro Tools and a Neve VR80 at Chung King. The song rides on a guitar loop sampled from Gabor Szabo, and a copy filtered down to its low end serves as the only bass part. The hardest job, he told Sound On Sound, was matching two lead-vocal comps recorded at different times with different chains. He also mixed Sérgio Mendes's 2006 album Timeless, produced by will.i.am and Mendes. Its single "Mas Que Nada" with the Black Eyed Peas earned a Latin Grammy nomination for Record of the Year. Timeless itself won Best Brazilian Contemporary Pop Album, and the Latin Recording Academy lists him among the winners.

Producer Martin Terefe, whom Maserati had met on a Craig David project in London, brought him in for Jason Mraz's We Sing. We Dance. We Steal Things., which engineer Dyre Gormsen had recorded almost live. Maserati mixed the whole record at his barn. Mraz told Mix that the arrangement of "I'm Yours" heard on the radio is really Maserati's: drums brought in later, dropped out in the third verse, the song stripped back toward its demo. The album earned Maserati and Gormsen a Best Engineered Album nomination in 2009. That year Waves also launched the Tony Maserati Signature Series, and he mixed Whitney Houston's "Million Dollar Bill." By the fall he was thinking about moving to Los Angeles.

2010–2018: Mirrorball, Blurred Lines and Beyoncé

He made the move in the summer of 2010. Jon Castelli, a young engineer who had looked up to him since he was 16, arrived in LA the same month. By Castelli's account, the two met about six months later, and after a few sessions Maserati asked him to co-mix some Lady Gaga songs for Born This Way. Maserati also gave him a room across from his own in a Burbank studio, where Castelli stayed five years. In 2011 he and Stefan Skarbek co-founded Mirrorball Entertainment, a label, publishing and production company, and he gathered a loose crew of former assistants, now independent engineers, that he calls Outfit 27 (Sonnox interview).

In quick succession he mixed all 17 tracks of Robin Thicke's Love After War (2011), Beyoncé's "Best Thing I Never Had" (2011), P!nk and Nate Ruess's "Just Give Me a Reason" (2012) and Jason Mraz's Love Is a Four Letter Word (2012), which brought another Best Engineered Album nomination in 2013. "Blurred Lines" (2013) was the giant. He mixed 14 songs for Thicke's album, seven of which made the record, and says the title track went through around 100 versions, mostly edits and new endings. Pharrell's engineer Andrew Coleman had recorded a simple, clean session, and on Pensado's Place that summer Maserati called the mix close to a layup. That year he also mixed "Swine" on Lady Gaga's ARTPOP with Castelli. In 2014 "Blurred Lines" gave him another Record of the Year nomination.

On Beyoncé's self-titled album (December 2013) he mixed eight of 14 songs, including "Drunk in Love," "Partition" and "***Flawless." He later told Sonnox that his seconds earned engineering credits on most of them because they did the work. Both that album and Lemonade (2016), where he mixed "6 Inch," "Sandcastles" and "All Night," were nominated for Album of the Year.

In 2014 he moved his personal base back to upstate New York, into a stripped-down, all-in-the-box room, while Los Angeles stayed Mirrorball's base. That year he mixed Nick Jonas's "Jealous," starting a long partnership with its producer, Sir Nolan. Then came Selena Gomez's "Good for You" (2015), Shawn Mendes's "Mercy" (2016), K.Flay's Every Where Is Some Where (2017, his fourth Best Engineered Album nomination), the duet version of Ed Sheeran's "Perfect" with Beyoncé (2017) and the 2018 release of Prince's 1984 recording of "Nothing Compares 2 U."

In June 2018 he was asked to fly to London within 24 hours to help finish Everything Is Love, Beyoncé and Jay-Z's joint album as The Carters, which several engineers were mixing in different studios at once. At The Church Studios, with assistant Tyler Scott, he mixed "Summer," "Boss," "Black Effect" and "Lovehappy." In an interview published by Chandler Limited he said he used a pair of RS124 compressors on Beyoncé's vocal, since she prefers light compression and likes to control the emotion herself; on Jay-Z he used a Zener Limiter, and on the mix bus a Curve Bender EQ.

2019–2026: Rare, K-pop, Cowboy Carter and RAYE

Selena Gomez's Rare (2020) shows how a modern pop album gets divided up. Sound On Sound counted four main mixers on the 13-track standard edition: Maserati on six songs, Serban Ghenea on four, Manny Marroquin on two and Jon Castelli on one. (Ghenea and Maserati had also both been credited mixers on Usher's Confessions.) Maserati's six include the title track, co-produced by Sir Nolan, who wanted Gomez's voice soft but clear and each chorus lifted a step above the last. The same year he won his second Latin Grammy, Best Engineered Album, as one of the mixers of Debi Nova's 3:33, an award he shares with his assistants Miles Comaskey and Najeeb Jones.

He also became a go-to mixer for K-pop. Apple Music credits him on Stray Kids' "WOLFGANG" (2021), NewJeans' "Attention" (2022, co-mixed with David K. Younghyun), LE SSERAFIM's "We got so much" and Jimin's "Slow Dance" with Sofia Carson (both 2024), as well as Rosa Linn's "SNAP" (2022). On Beyoncé's Cowboy Carter (2024) he mixed "Protector." When the album won Album of the Year in 2025, he was not among the credited winners, so it does not add to his tally.

His most talked-about recent mix is RAYE's "WHERE IS MY HUSBAND!" (2025). Mix With The Masters filmed him breaking it down at Rue Boyer Studios, from splitting a dense arrangement into subgroups to shaping it with EQ, compression, gating, harmonics and analog summing. And in February 2026 Nick Jonas's album Sunday Best arrived with Maserati credited for the stereo and immersive mixes of "Seeing Ghosts" and "Aphrodite."

How Tony Maserati mixes

He has explained his process in interviews and session breakdowns for more than two decades, and the same priorities run through all of them.

1. Serve the song and read the intent

He describes his job as helping the artist's vision come true, whether the artist is Biggie or Beyoncé (Slate Digital interview). In practice that means taking the rough mix and the session layout seriously, because both show the team's intent. He and his second write notes before changing anything. "Just Give Me a Reason" arrived dark, and he kept it that way instead of brightening it, because producer Jeff Bhasker had built the darkness in on purpose. As he told Berklee students in 2004, producers usually tell him what they want in emotional terms rather than technical ones, and he prefers it that way.

2. Open bounce, notes, broad strokes

Every mix starts with what he calls an open bounce. He opens the session, bounces it straight back to the producer and asks if it sounds right, because stems from other DAWs can arrive glitched, shifted or incomplete. Then he loops the song and takes notes, works in broad strokes before details, and usually allows about two days per mix so he can live with it in the car and at home. He never overwrites the session he was sent.

3. Split the low end, then decide who leads

Since his Full Force days he has split key sources into copies and processed each band separately. On a kick, one copy keeps only the bottom, pushed with a Pultec or Neve and compressed lightly, while another loses the lows so its click can be compressed differently, and he checks phase constantly. Then he decides who owns the bottom. On "Blurred Lines" the bass is the voice of the low end and the kick sits inside the drum groove. He told Pensado he has moved away from his old kick-first habits.

4. The vocal is the magic

“You don't stop until you've got something, because the vocal is the magic.”Tony Maserati, Mix magazine, December 2001

He said that about rescuing badly recorded vocals, for which he will reach for anything from Neve EQ and a Distressor to de-essers and a parallel 1176. His default is two EQs: one with character before the console, one clean for notches and air. Two of his vocal chains are documented in detail:

• Blurred Lines (2013). The session came with Waves Renaissance processing on Thicke's voice. He tweaked it and added a Waves C4 multiband (a plugin he uses a lot), a chorus and EchoBoy delays, then outboard Neve EQ, a Chandler TG1 on the verses and a Thermionic Culture Vulture and Chandler Zener on the hooks.
• Rare (2020). Waves Q10 (a low cut below 100 Hz and small lifts at 400 Hz and 4 kHz), the Waves Renaissance Compressor at close to 7:1 (it reminds him of a dbx 160X), Renaissance EQ, FabFilter Pro-DS, Waves CLA-2A and Pro-Q 2, a chain he and Sir Nolan developed together, with separate settings for verses and choruses.

For how Beyoncé's other engineers approach her voice, see how to sound like Beyoncé.

5. Space that moves

He thinks of a mix as a room. On "Blurred Lines" he pictured the party in front of him, treated each percussion part as a person in it, and panned most of the party noise and ad-libs to the right on purpose, so anything on the left felt like an event. He kept Thicke's vocal a touch lower than convention says, because a singer that strong can carry a record from the back of the room. For delays he used two stereo pairs, one on sixteenths and one on eighths, each slightly offset, with a filter darkening the eighths. He rode the sends so the space changed through the song. Find note-based delay times with our delay and reverb time calculator, and see stereo delay for vocal width.

6. Subtractive EQ and careful gain staging

Most rough mixes now arrive over-maximized; he once received one at −3 LUFS. His fix is subtractive EQ done with the whole mix playing: for each part he asks which frequencies it doesn't need while keeping its energy, and pulls them back. He does nearly all of that with FabFilter's Pro-Q (FabFilter Pro-Q 4 is the current version). He treats it as gain staging too, using clip gain and lower faders and starting low, because it is easier to push levels later than to claw them back. Related: how to carve space for vocals with EQ.

7. Parallel compression, a gentle mix bus

He told Pensado he uses parallel compression on anything that needs more energy without changing its place in the mix. He keeps a drum parallel chain built around an Alan Smart C2 (an SSL-style bus compressor gets you close at home, he said). On Rare the whole mix also fed a parallel bus through a pair of Chandler RS124s. The main bus stays gentle: on "Blurred Lines," a Shadow Hills Mastering Compressor at 2:1 with a slow attack, a Chandler Curve Bender adding about 2 dB at 10 kHz and a Pendulum PL2 catching peaks. Loudness, he says, is the mastering engineer's job. For client listening he makes a separate fake master, which on Rare sat at about −9 LUFS. More: parallel compression on vocals.

8. Hybrid, but not precious

At Una Volta he automated in Pro Tools, then summed in three groups: kick, snare and bass through a Neve sidecar; vocals, guitars and piano through a Chandler mixer; and the rest through a Dangerous 2-Bus. Recalls took five to ten minutes. When he stopped printing to half-inch, he replaced tape's glue with tiny delays, bus compression and parallel compression. Yet in 2013 he said he had mixed three Alicia Keys songs entirely on a laptop. In a 2014 interview he named the C4 as a daily tool and UA's Fairchild as a regular on vocals. He also uses the Oxford Inflator instead of a typical maximizer when he wants tone as well as level.

9. Many speakers, many levels

In 2001 he did EQ quietly on ProAc, Tannoy or Dynaudio monitors, rough levels louder on Yamaha NS-10s and vocal levels on a single mono speaker. By 2009 he had added tiny computer speakers with a Waves L2 on the mix as an energy check. His 2013 mobile rig was a laptop, Sennheiser HD 600 headphones, small Pelonis speakers and a Black Lion Audio converter.

The Waves Tony Maserati Signature Series

The Tony Maserati Signature Series came out in 2009. The idea, he told Mix that year, was to turn patches he had used for 20 years, such as a Neve EQ into an LA-3A with an 1176 or a Distressor on a parallel aux, into single plugins with a few controls. He admitted they would not be exact copies of his analog chains. In 2014 he said he built them for producers and younger engineers who don't have time to tweak everything. Waves' user guides list seven plugins:

These are preset-driven starting points and don't contain the settings from any particular hit; the famous records in Waves' marketing describe the kind of chain each plugin emulates. They are quick and musical, though, and on Pensado's Place one of the hosts said he uses the vocal plugin on acoustic guitars too.

Tony Maserati's gear and plugins

He has described all of this gear himself, in interviews and session breakdowns, and the middle column gives where and when. Links in the last column are affiliate links.

Tony Maserati's Grammy and Latin Grammy record

The Recording Academy's artist database shows one win and ten nominations, all for records he mixed or engineered:

Several records he mixed won Grammys for other people, including "Crazy in Love" (Best R&B Song, for its writers), Lemonade and Everything Is Love (Best Urban Contemporary Album, with Stuart White credited as engineer/mixer) and Cowboy Carter (Album of the Year, 2025). His own website and some interviews give higher totals; the figures above are the Academy's.

The Latin Grammy entries come from the Latin Recording Academy's artist page and category pages.

Mentor to Jean-Marie Horvat and a generation of assistants

The best known of the engineers who came up in his rooms is Jean-Marie Horvat. By Horvat's account, he started at Sigma Sound in New York in May 1990, met Maserati that summer and became his assistant that October; Maserati told him not to touch anything, and he touched everything. Through Maserati's sessions Horvat met Teddy Riley, which led him to Michael Jackson's Dangerous, to mixing Destiny's Child's "Say My Name" and eventually to a 2026 Grammy. The respect went both ways. In 2009 Maserati told Mix that Horvat is one of the colleagues he relies on for gear advice. In 2012, when Beyoncé's A&R Teresa LaBarbera asked for engineer recommendations, Maserati, Horvat and Ann Mincieli all named Stuart White, who went on to become her main engineer.

Jon Castelli spent five years in a room across from Maserati's in Burbank, shares the mix credit on Lady Gaga's "Swine" and later mixed a song on Rare himself. Maserati's former assistants who now engineer on their own make up the loose crew he calls Outfit 27. The people credited alongside him tell the same story. Miles Comaskey and Najeeb Jones share his 2020 Latin Grammy, Justin Hergett and James Krausse appear in the credits of his Beyoncé and Robin Thicke mixes, and Tyler Scott ran the technical side of his London sessions for Everything Is Love.

Tony Maserati selected discography

The complete picture is on Discogs (over 1,000 release entries, mostly mixing credits) and in the Recording Academy database.

Interviews, courses and official channels

His 2013 appearance on Pensado's Place, recorded while "Blurred Lines" was the song of the summer, is the best single conversation to start with. He joins about twelve minutes in and covers kick versus bass, panning, his delays, the dark sound of "Just Give Me a Reason," loudness and parallel compression:

• Sound On Sound session breakdowns: Selena Gomez 'Rare' (2020), 'Blurred Lines' (2013) and John Legend 'Save Room' (2007).
• Red Bull Music Academy: On Shaping the R&B Sound of New York (2015), plus Mix's 2001 profile and 2009 profile.
• Pensado's Place #89 (2012), Tannoy interview on working with Beyoncé (2014) and Working Class Audio #217 (2019).
• Courses: Puremix, Inside the Mix: Jason Mraz 'I'm Yours', Puremix Lifeboats collective mix and Mix With The Masters: RAYE 'WHERE IS MY HUSBAND!'.

Official channels: tonymaserati.com · Instagram @tonymaseratiofficial · X @tonymaserati · Waves Signature Series page.

FAQ

Who is Tony Maserati?

Tony Maserati is an American mix engineer who helped shape the 1990s New York R&B and hip-hop sound with Mary J. Blige and Bad Boy, then mixed hits such as "Crazy in Love," "I'm Yours," "Blurred Lines" and "Just Give Me a Reason." He co-founded Mirrorball Entertainment and has a Waves signature plugin line.

How many Grammys has Tony Maserati won?

One, according to the Recording Academy: Best Contemporary R&B Album at the 2004 Grammys, as engineer/mixer of Beyoncé's Dangerously in Love. The Academy also lists ten nominations. He has won two Latin Grammys as well, for Sérgio Mendes's Timeless (2006) and Debi Nova's 3:33 (2020).

Did Tony Maserati win a Grammy for "Crazy in Love"?

No, although many bios say so. "Crazy in Love" brought him a Record of the Year nomination. His win was for the album it came from, Dangerously in Love, most of which he mixed.

What is Tony Maserati's real name?

He has explained that Maserati is the English phonetic spelling of his Italian family name, Masciarotte.

Where did Tony Maserati study?

He started at Northeastern University in Boston, then moved to Berklee College of Music, where he switched from composition to the new Music Production and Engineering major in 1983. Berklee lists him as class of 1985.

What are the Waves Tony Maserati plugins?

The Tony Maserati Signature Series (2009) has seven plugins: VX1 Vocal Enhancer, DRM Drum Slammer, B72 Bass Phattener, GTi Guitar Toner, ACG Acoustic Guitar Designer, HMX Harmonics Generator and GRP Group Processor, each built from one of his processing patches.

What gear does Tony Maserati use?

He mixes in a hybrid way: Pro Tools plus outboard such as Chandler Limited's Curve Bender, RS124, TG1 and Zener, a Shadow Hills Mastering Compressor, Neve EQs, LA-3As, an 1176 and a Distressor, with Waves, FabFilter and Sonnox plugins in the box.

Was Tony Maserati Jean-Marie Horvat's mentor?

Yes. By Horvat's account he became Maserati's assistant at Sigma Sound in New York in October 1990, and Maserati's sessions led him to Teddy Riley and Michael Jackson's Dangerous.

Is Tony Maserati's vocal chain in the Vocal Chain eBible?

No. Maserati has no chain in the book, but it includes three Beyoncé vocal chains (Chains 001–003) from her engineers Stuart White and DJ Swivel, among its 88 real chains from hit records.

Sources

Recording Academy: Tony Maserati · Best Contemporary R&B Album 2004 · Latin Recording Academy: Tony Maserati · Mix, December 2001 · Mix, October 2009 · Mix/RealTraps, 2014 · Red Bull Music Academy (2015) · Sound On Sound, Save Room (2007) · Sound On Sound, Blurred Lines (2013) · Sound On Sound, Rare (2020) · Chandler Limited interview on SVC (2018) · Sonnox interview · Speakhertz (2014, archived) · Slate Digital interview · Berklee profile · Berklee News (2004) · Jon Castelli, VoyageLA (2019) · PULSE Music Group · Waves Signature Series · Waves VX1 user guide · Pensado's Place #126 · Discogs credits · My Life credits · Dangerously in Love credits · Stripped credits · Blurred Lines credits · Beyoncé credits · Rare credits · Apple Music: WHERE IS MY HUSBAND! · Apple Music: Swine