The mastering process allows you to perform final adjustments after you have mixed 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 similar sonic "consistency." Typical locations of issue for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one tune to the next, and spacing in between songs. Equalization: Sometimes you'll wish to change the eq or compression on a mix after you have actually done the final mix. Or you may have ten tunes blended by three different engineers in five various studios.
Each song's eq may appear ideal by itself, but if you series them together, unexpectedly one song 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 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 unsure about an eq choice 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 used 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 Trap Instrumentals 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 integrity. Levels: Preferably, 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. Just then can you really understand how levels associate with each other as one tune ends and the next begins.
Spacing & Crossfading.
Spacing: there are different viewpoints as to how one need to approach the spaces put in between tunes on a record. Last suggestion: you might be inclined to master the very same recordings that you mixed, whether it is for monetary factors, creative reasons, or simply because you can. We strongly advise that you get somebody else to master your project.
Common locations 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 different studios.
Each tune's eq might appear perfect by itself, but if you series them together, unexpectedly one song sounds too bright (or too dull ...). Idea # 1: remember that any eq modifications 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, remember to check how that impacts all the instruments (e.g. the vocal), not just the bass guitar and kick drum. Compression: In mastering, this is used not simply to manage a mix or to include character, however also to "print" or send as much level to the master as possible without clipping the signal.