Mastering & Creating Your Final Mix Like the Pros (Mastering Process).

The mastering procedure allows you to perform final adjustments after you have blended your multitrack recordings to 2 stereo tracks (we'll leave quad and 5.1 surround-sound circumstances for another day.) Some changes are made to enhance a particular song's sonic quality. Others are made within the context of an album - ensuring that lots of tunes strung together have a comparable sonic "consistency." Normal areas of concern for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one song to the next, and spacing between tunes. Equalization: Often you'll wish to adjust the eq or compression on a mix after you've done the final mix. Or you might have 10 songs mixed by 3 various engineers in 5 different studios.

Each song's eq may appear best by itself, but if you sequence them together, unexpectedly one tune sounds too brilliant (or too dull ...). Adjusting the eq can even whatever out. Idea # 1: keep in mind that any eq changes to your stereo mix impact the entire mix - if you want to cut 3 db at 80Hz because your mix sounds muddy, keep in mind to inspect how that affects all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Idea # 2: if you're uncertain about an eq decision throughout mixdown, know that it's easier to cut lower frequencies in mastering than to enhance them, and simpler to boost greater frequencies than to cut them. Compression: In mastering, this is utilized not just to manage a mix or to add character, but likewise to "print" or send as much level to the master as possible without clipping the signal. This can nearly seem like a competition for who has the loudest cd (" my record sounded excellent up until I listened on my CD carousel and Green Day was 5 db louder!"). But mastering engineers need to balance level with sonic stability. Levels: Ideally, a listener can play your record and not have to get up to change the volume. This is dealt with in mastering, after the record has actually been sequenced. Only then can you really understand how levels relate to each other as one tune ends and the next begins.

Spacing & Crossfading.

Spacing: there are different approaches as to how one must approach the spaces put in between tunes on a record. Some feel Trap Instrumentals the downbeat of one song must fall at the start of a new bar, in the tempo of the previous tune (to continue the flow.) Others believe you should prevent this like the plague, since it diminishes the effect. In the end, do whatever feels right. There is no standard. Cross-fade your tunes if you like, or place 6 seconds between them. (2-4 seconds prevails in the majority of popular, non-classical records, but it depends on you.) Final idea: you might be inclined to master the exact same recordings that you combined, whether it is for financial factors, imaginative reasons, or simply due to the fact that you can. But we strongly suggest that you get somebody else to master your job. The objectivity and fresh ears they give the table usually result in a more powerful, more cohesive album.


Normal areas of concern for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one song to the next, and spacing in between tunes. Or you may have ten tunes blended by three different engineers in 5 various studios.

Each song's eq may seem ideal by itself, however if you series them together, suddenly one song sounds too intense (or too dull ...). Pointer # 1: remember that any eq changes to your stereo mix impact the entire mix - if you desire to cut 3 db at 80Hz because your mix sounds muddy, remember to inspect how that impacts all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Compression: In mastering, this is utilized not just to control a mix or to add character, however likewise to "print" or send out as much level to the master as possible without clipping the signal.

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