Contents
1 Overview of Mastering and the Typical Session
Role of the Mastering Engineer
Choose an Engineer Based on Genre?
Balance of Benefit and Sacrifice
2 Do-It-Yourself Guide for Basic Mastering
Issues with Such a Basic Approach
MP3 Encoding Without Other Processing
Selecting a Digital Audio Workstation
Basic Mastering Processing Chain
Compare the Processed Version with the Original
Exporting for Internet Release
This Portion Is Only a Basic Guide
3 Preparing a Mix for Professional Mastering
Requesting the Removal of Mixbus Processing
Multiple Mono versus Stereo Interleaved
4 Accepting Mixes, Workflow, and Client Interfacing
Receiving/Importing Digital Recordings (Bit Rate, Sample Rate, and Levels)
Data Integrity: CRC and Checksums
Requesting Information from the Client
Receiving/Importing Analog Recordings
Attended versus Unattended Sessions
Saving/Copying/Pasting Processing Configurations
Each Recording Is Processed Individually
Time Frame for Revisions in Mastering
Stepped versus Continuously Variable Controls
Detented Potentiometers versus Rotary Switches
Software Plug-ins versus Analog Processing
Retailers, Auctions, and Classified Ads
Passive versus Active Monitors
Full-Range versus Midfield versus Near-Field Monitors
Wordclocks/Master Clocks/Distribution Amps
Restoration and Noise Reduction
Harmonic Enhancement and Saturation
Acoustic Environment Simulation for Headphones
Digital Audio Workstation Software
6 Mastering Acoustics and Monitoring
Hiring a Professional Acoustician
Treating First Reflection Points
Narrowing the Front of the Room
Listen to Tones with an SPL Meter
Correcting Acoustic Problems with Equalization
Excerpt from the Dolby 5.1-Channel Production Guidelines (the LFE Channel Is the Subwoofer)
Acoustic Methods/Techniques/Design Concepts
Consistency as a Result of Reference Levels
Monitoring at a Variety of Loudness Levels
Alternative Reference-Level Selection
7 Mastering Practices: Techniques, Problems, and Approaches
Technique: Working with Intent and Vision of the Result
Technique: Only Making True Improvements
Approach: Destructive versus Nondestructive Processing
Technique: Working with Reference Recordings
Technique: Minimizing the Delay Between Comparisons
Technique: Avoiding Ear Fatigue
Technique: Processing Sections of a Song Separately
Technique: Minimizing Processing
Technique: Making Client-Requested Changes Properly
Technique: Processing Based on First Impressions
Technique: Turning Things Off/Listening in Bypass Mode
Technique: Relationships with Mixing Engineers and Producers
Technique: Concurrent Processing
Technique: Processing in Stages
Technique: Mastering Equalization
Digital Equalizers: Minimum Phase
Digital Equalizers: Linear Phase
Technique: Using a Graphic Equalizer
Technique: Basic Frequency Balancing Using an Equalizer
Lower Midrange (~120 to ~350 to 400 Hz)
Midrange (~350 to ~2,000 Hz/2 kHz)
“Air” (~12 kHz to the Limit of Hearing)
Filters, Shelves, Bells, and Q Values
Technique: Order of Frequency Adjustment
Technique: Substractive Equalization
Technique: Using Less Common Equalizer Filters
Technique: Frequency Roll-Off on Both Ends
Technique: Extra Equalizer After Compression
Technique: Monitoring the Middle and Side Channels
Technique: Mid-Side Processing
Technique: Checking Mono Compatibility
Technique: Using Unique Mid-Side Processors
DDMF Metaplug-in/Mid-Side Plug-in
Technique: Understanding Distortion/Coloration/Saturation
Technique: Using Digital Emulations of Classic Gear
Technique: Running Through Twice
Technique: Adding Distortion to the Side Channel
Technique: Using the Same Character Processors on All Songs
Dithering Should Be Kept to a Minimum
Dithering for Digital Processing
Problem: DC Offset/Asymmetrical Waveforms
Problem: Hum in the Analog Signal Chain
Technique: Raising Levels Before Analog Processing
Technique: Adding Noise in the “Air” Band for Brilliance
Technique: Using Sample-Rate Conversion
Problem: Using Unbalanced-to-Balanced Connections
Problem: Unbalanced Left and Right Channels
Problem: Unbalanced Bass in the Mix
Problem: Lack of Vocal Clarity
Problem: Harsh/“Digital” Sound
Raising the Lower Midrange or Bass
Dynamic Equalization on Upper Midrange/Refinement
Analog Processing with Tubes or Transformers
Problem: Part of the Frequency Spectrum Is Out of Balance During Loud Passages
Problem: One Part of the Frequency Spectrum Is Too Dynamic
Problem: A Broad Part of the Frequency Spectrum Is Too High
Problem: Less Than Full Sounding
Problem: Fast/Medium Transient Sounds Stick Out Too Much
Technique: Manually Reducing Peaks
Technique: Reducing Level Before a Part Change
Technique: Analog-and-Digital Gain Staging
Technique: Mastering with a Focus on the Vocal
Technique: Working with a Vocal-Up Mix
Problem: Lacking Depth, Needs a Three-Dimensional Sound
Problem: Recordings Sound Different in the Car
Technique: Mixing Down to Tape/Mastering with Tape
Compression/Downward Compression
Compression Settings and Meters
Setting Attack/Release/Threshold
Character versus Transparent Compression
Volume Automation for Macrodynamic and Microdynamic Adjustments
Linked versus Unlinked Compression
Expansion/Expansion Before Compression
Voltage-Controlled Amplifier (VCA)
Beyond Ideal Loudness, There Is Quality Loss
When Did the Loudness War Begin?
Why Does the Loudness War Exist?
Loudness Potential of a Recording
Clipping a High-Quality A/D Converter
Digital Limiter Ceiling of –0.3 dBFS
Maximizers/Multiband Limiters/Inflators
Processing While Focusing on the Loudest Passages
10 Fades, Sequencing, and Spacing
Performing Fades During Mastering Has Its Own Set of Benefits
Noise at Beginnings and Endings
Providing Client a Preview for Approval
International Standard Recording Codes
Error Checking with Plextor/Plextools
BIN/CUE (An Alternative to DDP)
Shipping to the Replicator/Duplicator
Nonlossy: WAV, AIFF, FLAC, Etc
13 What Happens After Mastering?
Replication versus Duplication
Radio and Broadcast Processing
Growing Home Theater 5.1 Systems
Internet/Streaming/Format Conversions
Smart Phone/MP3 Player/Computer Playback
14 DAW/Computer Optimization and Interfacing
Do Not Let a DAW Dictate the Workflow
Solid-State Drives (SSDs) versus Hard-Disk Drives (HDDs)
Ending Nonessential Processing and Services (Windows)
Plug-in/Interface/DAW Conflicts
Other Typical Problems/Regular Maintenance
Disable Internet and Antivirus
Spyware/Badware/Viruses/Malware
Be Serious About Technical Problems
15 Starting a Mastering Studio as a Business
Challenges Faced by New Mastering Studios
Do-It-Yourself (DIY) Mastering
Legal Disclaimers/Limited Liability
Benefits of Starting a Mastering Studio
Add Mastering Services to an Existing Studio
Leverage Existing Opportunities
Opportunities for Audio Forensics
On Analog Multiband Compression and Audio Gear
Robin Schmidt, Mastering Engineer
Owner of 24-96 Mastering, Karlsruhe, Germany
The Case for Full-Range Monitoring
Scott Hull, Senior Mastering Engineer
Owner of Masterdisk Mastering Studios, New York, NY
What Are My Goals in Monitoring?
Connection and Calibration of an Analog Mastering Chain
Jaakko Viitalähde, Owner and Mastering Engineer
Virtalähde Mastering, Kuhmoinen, Finland
Installation, Calibration, and Operating Levels
Dave Hill, Audio Engineer and Owner of Dave Hill Designs
Equipment Designer for Crane Song, Ltd.
Brad Blackwood, Mastering Engineer and Owner
Euphonic Masters, Memphis, TN
Pieter Stenekes, Founder and Owner
Sonoris Audio Engineering, Friesland, Netherlands
Cornelius Gould, Audio Processing Developer
Omnia Audio, Cleveland, OH
Premastering for Vinyl Cutting
What If the Songs Will Not Fit?
David A. Hoatson, Cofounder and Chief Software Engineer
Lynx Studio Technology, Inc.