The mastering process enables you to carry out final changes after you have blended your multitrack recordings to two stereo tracks (we'll leave quad and 5.1 surround-sound circumstances for another day.) Some adjustments are made to enhance a specific song's sonic quality. Others are made within the context of an album - guaranteeing that many songs strung together have a comparable sonic "consistency." Typical areas of issue for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one song to the next, and spacing between tunes. Equalization: Sometimes you'll want to change the eq or compression on a mix after you've done the final mix. Or you might have 10 songs blended by 3 different engineers in 5 various studios.
Each song's eq might appear perfect by itself, however if you series them together, suddenly one song sounds too intense (or too dull ...). Changing the eq can even everything out. Idea # 1: bear in mind that any eq changes to your stereo mix affect the entire mix - if you wish 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 just the bass guitar and kick drum. Suggestion # 2: if you're uncertain about an eq choice during mixdown, know that it's simpler to cut lower frequencies in mastering than to enhance them, and easier to increase greater frequencies than to cut them. Compression: In mastering, this is utilized not simply to control a mix or to add character, but likewise to "print" or send out as much level to the master as possible without clipping the signal. This can almost feel like a competition for who has the loudest cd (" my record sounded terrific till I listened on my CD carousel and Green Day was 5 db louder!"). Mastering engineers need to balance level with sonic integrity. Levels: Preferably, a listener can play your record and not need to get up to change the volume. This is addressed in mastering, after the record has been sequenced. Only then can you truly understand how levels connect to each other as one tune ends and the next begins.
Spacing & Crossfading.
Spacing: there are different philosophies as to how one ought to approach the spaces put in between tunes on a record. Some feel the downbeat of one tune must fall at the start of a brand-new bar, in the tempo of the previous song (to continue the flow.) Others believe you must avoid this like the afflict, since it reduces the effect. In the end, do whatever feels. There is no requirement. Cross-fade your tunes if you like, or location 6 seconds in between them. (2-4 seconds prevails in most popular, non-classical records, but it's up to you.) Final suggestion: you may be inclined to master the exact same recordings that you blended, whether it is for financial reasons, innovative factors, or simply since you can. We highly advise that you get somebody else to master your task. The neutrality Free Type Beat Hip Hop and fresh ears they give the table usually lead to a more powerful, more cohesive album.
Typical 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 might have 10 tunes mixed by 3 various engineers in 5 different studios.
Each song's eq may seem perfect by itself, however if you sequence them together, all of a sudden one song sounds too bright (or too dull ...). Tip # 1: remember that any eq modifications to your stereo mix impact the entire mix - if you desire to cut 3 db at 80Hz since your mix sounds muddy, remember to check how that affects all the instruments (e.g. the vocal), not just the bass guitar and kick drum. Compression: In mastering, this is utilized not simply to manage a mix or to add character, but also to "print" or send out as much level to the master as possible without clipping the signal.