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Here is a list as of 03/09/2020 of my Video Game Music mastering (and more) credits.
A few bits most likely missing and many, many unannounced!

Absolver – Vinyl – Laced Records
Black Future 88 – Vinyl – Laced Records
Bloodborne – Vinyl – Laced Records
Borderlands – Vinyl – Laced Records
Borderlands – Digital – Laced Records
Borderlands 2 – Digital – Laced Records
Borderlands 3 2xlp – Vinyl – Laced Records
Borderlands 3 4xlp – Vinyl – Laced Records
Borderlands 3 – Digital – Laced Records
Control – Vinyl – Laced Records
Dead Cells – Vinyl – Laced Records
Devil May Cry 5 – Vinyl – Laced Records
Dishonored – Vinyl – Laced Records
Enter the Gungeon – Vinyl – Laced Records
Hotline Miami – Vinyl – Laced Records
Hotline Miami – Digital – Laced Records
Megaman X series – Vinyl – Laced Records
Megaman series – Vinyl – Laced Records
Resident Evil – Vinyl – Laced Records
Resident Evil 0 – Vinyl – Laced Records
Resident Evil 2 – Vinyl – Laced Records
Resident Evil 3 : Nemesis – Vinyl – Laced Records
Resident Evil 4 – Vinyl – Laced Records
Resident Evil CODE : Veronica – Vinyl – Laced Records
RUINER – Vinyl – Laced Records
RuneScape Original Soundtrack Classics – Vinyl – Laced Records
RuneScape Original Soundtrack Classics – CD – Laced Records
RuneScape Original Soundtrack Classics – Digital – Laced Records
RuneScape The Orchestral Collection – Vinyl – Laced Records
RuneScape The Orchestral Collection – CD – Laced Records
RuneScape The Orchestral Collection – Digital – Laced Records
Shadow of the Tomb Raider – Vinyl – Laced Records
Shadow Warrior 2 – Vinyl – Laced Records
Strafe – Vinyl – Laced Records
Street Fighter 3 – Vinyl – Laced Records
TEKKEN – Vinyl – Laced Records
TEKKEN 2 – Vinyl – Laced Records
TEKKEN 3 – Vinyl – Laced Records
Warhammer 40,000 : Dawn of War 2 – Vinyl – Laced Records
Warhammer 40,000 : Space Marine – Vinyl – Laced Records
Wolfenstein II : The New Colossus – Vinyl – Laced Records
Yooka Laylee – Vinyl – Laced Records
Yooka Laylee – CD – Laced Records
Yooka Laylee – Digital – Laced Records
Gears: Tactics – Digital – Laced Records

Hello there, over the last few years I have been trying all kinds of vinyl care / turntable maintenance products well within the affordability of anyone who, well, you know buys vinyl!

None of these links are affiliated with Joe Caithness Mastering in any way, these are just things I have personally had good results with.

• Vinyl Cleaning Kit by Vinylclear. I have used this for a few years now and although it basically contains everything you expect for a simple cleaning kit I have to give it kudos for giving you two easy to clean antistatic cloths for easy cleaning of batches of records. I have also had more luck with the cleaning solution than others at cleaning really dirty records. (Link:
  https://www.ebay.co.uk/itm/Vinylclear-Professional-LP-Record-Cleaning-Fluid-Restoration-Kit-Stylus-Cleaner/264321643964 )
  
• Audio Zomba Dustmagnet. This is an absolute life saver when it comes to stylus care when a brush simply won’t cut it. It can remove oily and small debris from a stylus you can’t see with the naked eye. I find using a brush, then the dustmagnet, then repeat until nothing is coming off works great. (Link:
  https://www.ebay.co.uk/itm/VINYL-RECORD-CLEANER-DUSTMAGNET-STYLUS-CLEANING-ACTIVE-POLYMER-RECHARGEABLE/252575144457?hash=item3acea6da09:g:lYAAAOSwa29b5f0p )
• Pro-Ject Carbon Fibre Brush. There appears to be as many carbon fibre brushes on the market as actual records ranging from a few quid upwards, if you want to stick with a brand name trusted in the vinyl world you can grab a Pro-Ject brush here. Great for removing larger particles of dust and static from a record surface. (Link:
  https://www.ebay.co.uk/itm/Pro-Ject-Project-Brush-IT-Carbon-Fibre-Record-Cleaning-Brush/183786401769?hash=item2aca85efe9:g:wiwAAOSwnEtbUGWJ )

“What the hell is the difference between CD replication and CD duplication?”

This is a question asked by almost every client who comes to me to master for a short run of CDs.

The rule of thumb is that if you’re making small amounts (usually up to 100 or 200) of CDs on a “make your own CD” type website it will be duplication.

Duplication involves copying 1 to 1 a CDr master of your album. This is basically the same as burning a CD in your computer CD/DVD drive over and over on a large scale.

This is a lower quality product for three main reasons.

1. The CD you are producing is a copy of a CDr. As most people will know CDrs aren’t the most durable format ever and need to be burned from a CD drive/software in the first place. This introduces scope for errors which will then be duplicated along with the audio.
2. CDr is a lower quality product as far as age and durability is concerned. Because these CDs have been effectively printed onto the layer on the top of the readable side is a lot less durable than a commercial CD. You may have even seen this peel off if a CDr is left in a car for example.
3. As each individual CDr is burned from scratch in a new distinct drive, sequential CDrs are less likely to be consistent. For example if there is a problem with a drive within the stack of 5 used to make the CDr each time this drive is used you are potentially creating a dud product.

I have used this format for releases myself, and many people choose to still as it is a very cheap way to give punters at live shows a product to purchase. But be aware that you are rolling the dice to some degree just by using CDrs.

The standard for a commercial released CD Audio disc you will find a shop is a replicated CD.

These products which we are all aware of also include the risks of age and damage, but to a much smaller degree. Replicated CDs are manufactured in a similar way to vinyl, as in they are physically pressed as a virgin product using a glass master. When ordering a CD from a production company you will often this glass mastering as a cost as it is a bespoke production master made for your CD.

Replicated CDs are incredibly cheap now so my personal suggestion is unless you are making a handful for a show or tour consider making a replicated CD run and giving away any additional copies to fans or promo if you have any left over after the initial sale has died down. This means if someone pulls out your release to listen to or rip to their computer in ten years time it is a lot more likely to work as the day the master was made and therefore reconnect you to your listeners.

From the Spotify for artists website:

( https://artists.spotify.com/faq/mastering-and-loudness#will-spotify-play-my-track-at-the-level-it’s-mastered )

“Ensure your master stays below -2db True Peak (TP) to be optimised for the lossy formats we use (Ogg/Vorbis and AAC), which, like all lossy formats, do not handle loud peaks well.”

“Generally, you won’t benefit from mastering louder than -14dB integrated LUFS due to Loudness Normalization. There’s no harm in doing so, but the tracks won’t play louder than that.”