Mastering

Mastering is the final stage of production, after the mix is finished.

At this stage, the work is done on the song's final file rather than on its individual channels. The goal is to bring the mix to a balanced, consistent state, so the song can sit alongside other material and sound right across a variety of playback systems and platforms.

Mastering isn't meant to replace mixing or fix basic problems in a mix. That's why it's important for the work to start from a mix file that's as solid and balanced as possible.

What does the mastering process include?

Overall balance of the song - mastering can make subtle adjustments to the overall balance - in frequency, loudness and dynamics, for example - to improve the overall feel of the mix. The work is done on the song as a whole, not on the vocals, drums or guitars separately, as happens in mixing.

Loudness and dynamics - one of mastering's roles is to bring the song to an appropriate loudness level while preserving the dynamics and character of the production as much as possible. The point isn't simply to make the song louder. Excessive loudness can hurt dynamics and sound quality, so the right balance between loudness, clarity and character needs to be found.

Frequency balance - subtle adjustments can be made to the song's frequency range where needed - for example if the mix sounds too dark, too bright, crowded in a certain area, or lacking in another. The goal is to create a more balanced picture, so the song works well across different playback systems.

Stereo and spatial check - mastering also includes checking the stereo image and how the different elements behave together in the final file. It's important to make sure the song doesn't rely on specific listening conditions only, and that no issues arise when moving between different playback systems.

Fitting real-world listening

A song can sound great in the studio and still behave differently on other systems.

That's why I don't rely only on the main playback system. I check the result under other listening conditions as well, to catch issues that might not be obvious right where the work was done.

The goal is for the song to keep its character and balance even as the listener moves between different systems - headphones, speakers and other playback setups.

Streaming, radio and distribution

The final file needs to fit the purpose it's intended for.

Preparing for digital distribution requires attention to file format, sample rate, bit depth and other characteristics of the final file. When the material is also intended for other uses, like radio or professional playback systems, the files can be prepared according to the relevant requirements.

Streaming platforms also have mechanisms that affect playback loudness, so there's no simple meaning to "being the loudest." It matters more that the file is balanced and that the work on loudness serves the music rather than harming it.

Checking before delivery

Before delivering the final file, I listen to the result and check it in the context of the whole song.

I look for things like unwanted loudness changes, frequency ranges pulling too much attention, stereo issues, noise, or other glitches that might appear in the final file.

When it comes to several songs - an EP or an album, for example - there's also added importance to the relationship between the songs. They need to feel like part of the same project, not like a collection of files each treated separately.

What do you get at the end?

At the end, you receive a master file ready for distribution, matching the destination it's intended for.

Depending on the need, different versions of the file can be prepared, for example for digital distribution, radio, or other uses.

I also pay attention to file naming, format and a neat order of materials, so the delivered files are ready to use and don't require additional technical handling before being sent out for distribution.

Mastering starts with a good mix

In my view, good mastering starts long before the mastering stage itself.

If there's a significant problem in the mix - vocals that disappear, drums that are too loud, or a frequency that fights with another instrument - it's usually right to go back to the mix and address the issue there, rather than trying to solve it on the final file.

So before I start mastering, I listen to the mix and check whether it's ready for this stage. If I notice something that's better fixed in the mix, I say so before moving on.

The goal isn't to add another layer of processing just because it's the next step in the process, but to do the work the song actually needs.

Have a mix ready for mastering? Send me the file or a few details about the project, and I'll check the material and let you know what it needs to get ready for distribution.