Mastering: Why It Matters.
Mastering is the final treatment your music receives before being presented to the listener. This involves some form of additional processing of the final mix to help each song, and the album as a whole, achieve the emotional impact envisioned by the artist/songwriter. Each mastering engineer has a favorite repertoire of techniques they employ to this end, and these can vary dramatically from engineer to engineer; hence the prevailing feeling that mastering is as much an art as a science.
Mastering engineers are specialists, and their choices in equipment, mastering environment, and software are far more diverse and individual than those typically encountered in a recording studio. Mastering specialists agree, however, that the most crucial tool is the ability to listen - and really hear the music.
Every recording requires a particular approach tailored to the music, the tastes of the artist, and the target audience. By listening to the artist, the mastering engineer can produce a product that is a good representation of the musician's original intentions.
Other Aspects of Mastering
Mastering also requires the asessment of time between tracks. The default is 2 seconds, but the flow of the CD may require adjustments.
For instance when two upbeat songs appear simultaneously, you may want a smaller break. When a slower track follows an upbeat track, it may require a larger break for the listener to let go of the first and be ready to accept the slower song, plus the longer break is a forebearer of what's to come.
When one song fades out you may want the next song to jump in right away, if it is an upbeat song, for the surprise and energey it may create. If a song fades in, you may want to start it right away, especially if the previous song was upbeat.
Yet another aspect the mastering engineer may consider is the relative key of each song. A fast song ending, and a slow song starting that modulates up a 1/2 step just may add the tension needed to keep the flow of the CD. Pink Floyd CDs are good examples of songs written,recorded and then mastered using the song key as an important part of the flow. Alan Parsons is also a great example of this process.. I Robot and Dark Side of the Moon are a couple examples he was involved in
Mastering Your Own Music
**Using an experienced mastering engineer is the preferred choice for getting the best results. The considerations listed above are just a few of the reasons. Having an experienced set of ears that can listen objectively to your project is one of the most important reasons to use a mastering engineer for your final step. However, if you are determined to do it yourself, the following may be of interest:
With patience and attention to detail, the musician can master his/her own music on a home computer if the project isn't meant to be a commercial release. Practice the art of listening, particularly to recordings
you admire and hope to emulate. Respect your ears for the fine instruments they are - accustom yourself to listening at low volumes - they will improve with
use. Learn to trust what you hear.
If you intend to master your own mixdown, provide yourself some perspective by allowing several days away from the project before beginning the mastering
process. Select a number of your favourite commercially produced recordings to serve as a guide in shaping the sound.
Listen to the recording, using your ears to determine what improvements can be made.The ability to assess a mixdown and identify its strengths and
weaknesses is a skill developed over time.There are no "rules". As you adjust EQ and compression, change the settings carefully, taking note of
improvements as you go. Pause frequently to evaluate. Compare your adjusted version with the original to maintain perspective. Be meticulous and address
all areas of potential improvement, and patiently attend to making the necessary adjustments.
Generally, tonal shaping (EQ) and compression are applied during the mastering phase. EQ can help distinguish individual instruments in the mix, and
create an overall pleasing blend. Carefully adjusted compression settings will tend to smooth out uneven sections and bring an authoritive energy to the
sound. A high-pass filter is often useful to remove the rumble of conflicting bass frequencies, and touch of reverb can help to establish a sense of
cohesiveness to a mastered project.
Each song serves a purpose within the overall sound of a CD. In the same way that dynamics within a song work to downplay some passages and highlight
others, a low energy song which invites close attention can set the listener up for the more aggressive song that follows. Resist the tendency to over-use your
mastering tools and make all the selections in a collection of music sound the same.
If there is time, completing more than one master of each track will give you an opportunity to contrast various sounds. Using the original mixdown as a basis
for comparison, several masters of each track can be completed (in separate sessions, preferably on separate days), providing a selection of approaches
from which to choose.
** - editors note
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