Kim Rosen is a GRAMMY® nominated mastering engineer who works out of her own “Knack Mastering” located in Ringwood, NJ, USA.

Kim grew up in the western Massachusetts town of Northampton. Realizing early-on music was a driving force in her life, Kim poured herself into the local music scene while searching out a way to carve a path for herself. In the summer of 2002 a friend turned her on to a mastering studio in NJ that was looking for an intern. Kim jumped at the opportunity, moved to NJ and began her journey at the age of twenty two.

After a couple of years in production, training and assisting in sessions, Kim was given the opportunity to take on her own mastering projects. Over the next five years, Kim would rack up hundreds of mastering credits including notable projects from Jeremy Enigk, Franz Ferdinand and Dashboard Confessional.

In 2009 Kim decided to go out on her own. She built her new studio with the help of renowned acoustician Chris Pelonis. The mastering room at Knack is a world-class listening environment, with analog and digital gear carefully chosen for its sound quality as well as its versatility.

Kim has served two terms as a Governor for the New York Chapter of the Recording Academy and has been a featured panelist and speaker at audio conventions such as AES in New York City, Winter NAMM in Anaheim, CA and Summer NAMM in Nashville, TN as well as at colleges and universities across the United States.

In 2019 Kim and her tech/husband Dave launched Whitestone Audio Instruments.  Their  P331 Tube Loading Amplifier, originally designed as a custom piece of gear for Kim’s mastering room, is now being put to work in some of the world’s most successful tracking, mix and mastering studios.

Recordings Kim has mastered have garnered eighteen Grammy nominations. Five winning across multiple categories including Song of the Year…as well as two nominations in the Best Engineered Album/Non-Classical category:

2023 WIN
Song of the Year, Bonnie Raitt, “Just Like That“

2023 Nomination
Best Americana Album, Bonnie Raitt, “Just Like That“

2023 WIN
Best Americana Performance, Bonnie Raitt, “Made Up Mind“

2023 WIN
Best American Roots Song, Bonnie Raitt, “Just Like That“

2023 Nomination
Best New Age Ambient,or Chant Album, Cheryl B. Engelhardt, “The Passenger“

2022 Nomination
Best Jazz Vocal Album, Nnenna Freelon, “Time Traveler“

2022 WIN
Best Folk Album, Rhiannon Giddens and Francesco Turrisi, “They’re Calling Me Home“

2022 Nomination
Best American Roots Song, Rhiannon Giddens, Francesco Turrisi and Justin Robinson, “Avalon“

2022 Nomination
Best Americana Album, Allison Russell, “Outside Child“

2022 Nomination
Best American Roots Song, Jeremy Lindsay and Allison Russell, “Nightflyer“

2022 Nomination
Best American Roots Performance, Allison Russell, “Nightflyer“

2021 Nomination
Best American Roots Performance, Rhiannon Giddens and Francesco Turrisi, “I’m On My Way“

2020 Nomination
Best Engineered Album Non-Classical, The Milk Carton Kids, “All The Things That I Did And All The Things That I Didn’t Do”

2020 Nomination
Best Contemporary Blues Album, Teresa James And The Rhythm Tramps, “Here In Babylon”

2020 Nomination
Best Contemporary Blues Album, Victor Wainwright, “Victor Wainwright and The Train“ 

2019 WIN
Best Folk Album, Aimee Mann, “Mental Illness”

2018 Nomination
Best Engineered Album Non-Classical, Bonnie Raitt, “Dig In Deep”

2017 Nomination
Best Blues Album, Bettye Lavette, “Worthy”

Other notable credits include a diverse spectrum of genres with artists such as Wynonna Judd, Natalie Merchant, Belly, The Avett Brothers, Billy Bragg, Joe Henry, Steep Canyon Rangers, Glen Phillips, Aimee Mann, The Milk Carton Kids, The Barr Brothers, Superdrag, Title Fight and Flogging Molly.

She was fortunate enough to master the remake of the Johnny Cash album “Bitter Tears” for Sony Masterworks which features artists such as Emmylou Harris, Steve Earl, Kris Kristofferson, Gillian Welch and The Milk Carton Kids as well as the beautiful Rhiannon Giddens and Iron & Wine rendition of “Forever Young” for the final episode of NBC’s television series “Parenthood”.

Kim continues to build a client base of artists, producers, labels and engineers who trust her ears, her experience and, above all, her respect for their mixes.