Mastering is often perceived as the murkiest and most impenetrable stage of the music production process. Point Blank music school is regularly releasing educational videos and tips that help individuals expand their knowledge base. Their latest piece focuses towards mastering and it brings seven tips that will help you get your tracks on the next level.
Mastering forms an integral part of Point Blank's BA (Hons) in Music Production and Sound Engineering degree, with a dedicated module and more tips and instruction as part their Art of Mixing and Advanced Mixing modules too. For a taster of what there is to learn, below you can see seven helpful tips to get you on the way to making better masters for your tracks.
Quality in, quality out
The first step on the road to a great master is a great mix, so if you approach the mixdown half-heartedly, thinking you can make up for it at the mastering stage, you’re coming at the whole thing from entirely the wrong direction. The mix should sound ‘finished’ before you render it as a stereo audio file for mastering, with all the dynamics wrangling, EQ shaping and stereo spatialising of every track and bus done and dusted. And when it is time to hit the Export button, remember to remove any mix bus limiting and leave yourself around 6dB of headroom (ie, have the master output peaking at -6dBFS), to give your mastering plugins room for digital manoeuvre.
Reference, reference, reference!
The importance of A/Bing your in-progress project with carefully chosen reference tracks when mastering simply can’t be overstated. You might think your ears are as golden as they come, but even the most experienced mastering engineers will constantly compare the mix they’re working on to other tracks in the same genre, ensuring consistency with proven artistic and commercial standards.
It’s good practice to maintain an up-to-date (ie, refreshed over time as the sound of your genre of choice evolves) collection of reference tracks that you both love and know inside out, sonically speaking; and plugins like Sample Magic’s Magic AB and Mastering The Mix’s Reference can make the process of comparing them to your own masters effortless.
Welcome to the future
There are some incredible mastering-orientated software processors on the market these days, some of them using artificial intelligence and other such sorcery to actively assist you in your engineering. iZotope’s industry-leading Ozone 8 mastering suite, for example, introduced the Mastering Assistant feature, employing machine learning to apply automated EQ and dynamics sculpting to your master, based on genre-specific profiles or an imported reference track.
Then there are various ‘matching EQ’ plugins, including IK Multimedia’s Master Match (available singly or as part of the superb T-RackS 5), FabFilter Pro-Q 2 and the one built into Ozone 8. These extract a representative frequency curve from one or more reference tracks, then impose it on your master using spectral processing and EQ. As long as these powerful tools are used as guides rather than definitive ‘set and forget’ solutions, the results they deliver can be truly spectacular.
Don’t overdo it
The most frequently made mistake on the part of the novice mastering engineer is the over-application of compression; the second most frequent is the over-application of EQ. Mastering is mostly about these two particular processes, of course, and approaching either of them without knowing what you’re doing is more likely to damage your mixes than improve them.
We can’t teach you everything you need to know here, but if you find yourself cranking the ratio control on your mastering compressor higher than 2:1, you’re probably going too far – head back to the mix and sort whatever dynamic issues you think you’re hearing there instead. Similarly, the need for EQ boosts of more than about 1dB anywhere in the frequency spectrum imply that the mix is unbalanced, so load up that DAW project and take another pass.
Analogue or digital?
Whether to build your mastering chain using analogue-style plugins (or hardware) or the super-transparent processors that only software makes possible will depend on the colouration of the source mix, the amount of corrective compression and/or EQ it needs, and, of course, the kind of sound you’re looking to achieve at the end of the road. For example, if the track has been recorded and mixed using analogue gear or tube-emulating plugins, you might want to keep your mastering effects as unobtrusive as possible, in which case, transparency is the way to go.
If, on the other hand, you’re dealing with a sterile, fully in-the-box production, the warmth added by a real or virtual analogue chain can prove transformative. You can, of course, combine the two as well: follow your flawlessly transparent linear phase EQ cuts with an analogue-style limiter, say.
Mastering reverb – handle with care
If you’re really confident in your aural judgment and a particular track feels like it might significantly benefit from it, a very light touch of reverb at the mastering stage can add effective depth, space and air. Obviously, you’ll want to use the highest quality reverb unit or plugin you can get your hands on for this, and extreme caution must be taken in terms of setting the length, dynamics and frequency shaping of the tail.
If at any point you get even a fleeting sense that your reverb is incongruous or just too much, dial it back or take it out altogether, and consider going back to the mix instead. And to be absolutely clear, reverb at the mastering stage should only be used to work in a little bit of ambience, never as a frequency or level balancing tool.
You don’t have to do it yourself
Mastering is an art unto itself, requiring not only in-depth technical knowledge of the gear and specific engineering techniques involved but also – ideally – years of experience. Although mastering suites like Ozone and T-RackS put the tools required to produce amazing masters in the hands of anyone with a few hundred quid to spare, there’s absolutely nothing wrong with hiring an expert to do it for you, especially if the project is important and/or potentially money-making.
Online mastering services from big-name studios such as Metropolis, Abbey Road and Real World are affordable, convenient and guaranteed to yield top notch results – and most even let you discuss the mastering process with your assigned engineer via Skype or phone, adding an invaluable educational element into the deal. Certainly worth considering while you’re learning the mastering ropes for yourself.
Tips & Tutorials column is curated by producer Alex Ranerro. The articles are created with a simple aim to share his experiences and knowledge with SolvdMag readers. If you would like to contribute or you have any other questions, please write Alex at firstname.lastname@example.org.