Shocking Information About Online Mastering Exposed


When a mastering engineer performs mastering on a stereo music track he’ll generally be making little tweaks to the sound. Mastering has some limits because of the nature of working with a stereo 2 track L/R mix. The mastering engineer does not have the edge a combination engineer does by being able to control the multitrack recording. This is widely understood in the professional music industry. As such the scope of the mastering engineer would generally be to effect small corrections within the music. These small tweaks can however add as much as a reasonably big subjective improvement in audio quality. In mastering the engineer must be highly confident that the changes he makes are correct as any choices inevitably change other facets of the mixture.

For example if you’re planning on equalizing a snare drum you’ll also be equalizing the vocal by default. This is the constant thought of the mastering engineer. Discover a lot more about professional track mastering by going to this website. As such it takes many years of expertise to judge the correct compromise. In recent years with the arrival of DIY music at home there is a tendency towards mixes being fairly out of equilibrium. A great mastering engineer will offer fundamental mixture tweaks and request a re-submission of the 2 track mixdown. Yet the mastering engineer is running a small company and as such any work done takes time from his program of paid work so this good will shouldn’t be abused unduly.

There is occasionally the case for what I would call extreme mastering, extreme in that there may not be an option to get combinations tweaked and remixed. An example would be if the music was made some years past and the files for the mix have been lost and this final mix is the only one present. For this the mastering engineer will need to pull out all of his or her abilities in attempting to restore great mix balance and tone. Extreme mastering isn’t common yet when it’s demanded it can be a rewarding challenge for the mastering studio. There are numerous tools which can help with this procedure. Commonly these tools will be multiband in nature and these schism frequency bands will help the engineer reshape the mix in a useful way.

Such problems that demand extreme mastering techniques could be, lots of heavy sub bass on a bass line with a standard sounding kick drum, the challenge would be removing bass without ending up with a poor kick drum. Another issue could be an overly loud snare drum in the mix, this requires reducing the level of a snare drum without overly impacting guitars and vocals. So you could see these are not simple problems to solve. Nevertheless with time and attention to detail and the appropriate toolset the greatest result for the track can be recognized. So when you mix sound do try and keep back ups of the multitracks you work on. This enables recourse to the mixture for tweaking which will consistently be sonically preferable compared with 2 track master tweaks.

Phillip Mason

For many years, Phillip Mason has written for several magazines and has gained a lot of respect from several distinguished associations. Last year, he earned a degree in Applied Mathematics.

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