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

Typical locations of concern for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one tune to the next, and spacing between tunes. Equalization: In some cases you'll want to change the eq or compression on a mix after you've done the last mix. Or you may have ten tunes mixed by 3 different engineers in 5 different studios.

Each song's eq may appear ideal by itself, but if you sequence them together, unexpectedly one song sounds too bright (or too dull ...). Changing the eq can even everything out. Pointer # 1: keep in mind that any eq modifications to your stereo mix impact the whole mix - if you wish to cut 3 db at 80Hz because your mix sounds muddy, keep in mind to check how that impacts all the instruments (e.g. the vocal), not just the bass guitar and kick drum. Idea # 2: if you're unsure about an eq choice during mixdown, understand that it's easier to cut lower frequencies in mastering than to improve them, and easier to enhance higher frequencies than to cut them. Compression: In mastering, this is utilized not just to manage a mix or to include character, but likewise to "print" or send as much level to the master as possible without clipping the signal. This can nearly feel like a competitors for who has the loudest cd (" my record sounded fantastic till I listened on my CD carousel and Green Day was 5 db louder!"). Mastering engineers should stabilize level with sonic integrity. Levels: Preferably, a listener can play your record and not have to get up to change the volume. This is addressed in mastering, after the record has been sequenced. Just 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 regarding how one need to approach the spaces put in between songs on a record. Some feel the downbeat of one tune ought to fall at the start of a new bar, in the tempo of the previous song (to continue the flow.) Others think you ought to avoid this like the afflict, because it decreases the effect. In the end, do whatever feels. There is no standard. Cross-fade your tunes if you like, or location six seconds in between them. (2-4 seconds is common in a lot of popular, non-classical records, however it's up to you.) Final suggestion: you might be inclined to master the exact same recordings that you blended, whether it is for monetary reasons, innovative reasons, Free Type Instrumentals Trap or merely since you can. However we highly recommend that you get another person to master your task. The neutrality and fresh ears they bring to the table inevitably lead to a more powerful, more cohesive album.


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

Each tune's eq may seem perfect by itself, but if you sequence them together, all of a sudden one tune sounds too intense (or too dull ...). Tip # 1: remember that any eq changes to your stereo mix affect the whole mix - if you want to cut 3 db at 80Hz since your mix sounds muddy, remember to inspect how that affects all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Compression: In mastering, this is used not simply to manage a mix or to include character, but likewise to "print" or send out as much level to the master as possible without clipping the signal.

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