The mastering process 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 specific tune's sonic quality. Others are made within the context of an album - guaranteeing that numerous songs strung together have a comparable sonic "consistency." Common 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. Equalization: In some cases you'll want to adjust the eq or compression on a mix after you've done the last mix. Or you might have 10 songs mixed by 3 various engineers in five different studios.
Each song's eq may appear ideal by itself, but if you series them together, unexpectedly one tune sounds too bright (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 due to the fact that your mix sounds muddy, keep in mind to check how that affects all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Idea # 2: if you're unsure about an eq choice throughout mixdown, know that it's simpler to cut lower frequencies in mastering than to enhance them, and easier to enhance higher frequencies than to cut them. Compression: In mastering, this is used not simply to control a mix or to add character, however also to "print" or send out as much level to the master as possible without clipping the signal. This can practically feel like a competitors for who has the loudest cd (" my record sounded terrific up until I listened on my CD carousel and Green Day was 5 db louder!"). However mastering engineers should balance level with sonic stability. Levels: Ideally, a listener can play your record and not need to get up to adjust the volume. This is addressed in mastering, after the record has actually been sequenced. Only then can you actually know how levels relate to each other Hip Hop Beats as one tune ends and the next begins.
Spacing & Crossfading.
Spacing: there are different approaches as to how one should approach the spaces put in between tunes on a record. Final suggestion: you might be inclined to master the same recordings that you blended, whether it is for monetary reasons, innovative factors, or merely since you can. We highly advise that you get someone else to master your project.
Typical locations of issue for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one song to the next, and spacing between tunes. Or you might have ten songs blended by 3 different engineers in five different studios.
Each tune's eq might seem perfect by itself, but if you series them together, suddenly one song sounds too brilliant (or too dull ...). Pointer # 1: remember that any eq changes to your stereo mix affect 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 used not just to manage a mix or to include character, however also to "print" or send out as much level to the master as possible without clipping the signal.