Whether you record from the comfort of your own home or pay for some studio time, mastering your music is a critical part of the music recording process. But if any of you are like me, mastering has always seemed like this... THING, that you knew you needed but never really knew what it was.
To answer all of my questions (feel free to ask your own in the form of a comment below), I asked a friend, fellow blogger, musician and mastering engineer, Brian Hazard, to help unveil some of the mystery surrounding music mastering to explain why mastering is important and how you can benefit as you plan your next recording project.
Mastering is about finding the tonal balance, density, and punch that best serves the music on a broad range of playback systems. It almost always includes EQ, compression, limiting, and dither. Other tools like mid-side processing, stereo enhancement, and de-essing come into play only when the mix calls for them.
Mixing combines the individual elements of a song into a single stereo file, most often in 24-bit .wav or AIFF format. Mastering is performed on that file. At a broader level, mixing is assembling tracks to form a song, and mastering is assembling songs to form an album. The same term is used both to describe optimizing a single song and matching a group of songs together, which causes quite a bit of confusion. Beyond that, the word "track" can refer to either an individual element in a mix, or an entire song (which isn't even necessarily a song in the traditional sense). As if the mastering process weren't mysterious enough, the basic terminology is ambiguous!
Mastering the final step in the recording process, after mixdown.
A remastering job is just about the highest compliment a mastering engineer can get. Every once in awhile I'll get one after I master a client's latest album, and they like it so much they decide to have me revisit their back catalog. Maybe the mastering wasn't done well the first time, or maybe the client wants their entire discography to match. Perhaps they just want to add some bonus content for promotional purposes. Occasionally it's for that pinnacle of artistic achievement, the box set!
Unfortunately, these days the most obvious evidence is a hint of distortion on every kick and snare hit in the loudest sections of a track, collateral damage from pushing the volume beyond all reason. Done right, mastering isn't something the average consumer can put their finger on. It just sounds "like a record."
Absolutely. All major label releases are professionally mastered. It's not just about correcting problems. If I hear problems that are best addressed in the mix, I'll point them out and request a new mixdown. Even if the mixes are rock solid, mastering is still necessary to achieve the ideal density, punch, and volume. The best mix engineers in the world don't master their own material because mastering requires a different skill set, and they haven't put their ten thousand hours in.
Inexperienced mixers often boost the hi-hats too far. We tend to equate high fidelity with the presence of high frequency content, so it's understandable. So the hats tend to be crazy bright, while the rest of the mix is dull and muddy. That absolutely must be fixed in the mix. If I useEQ to tone down the hi-hats, that makes the rest of the mix even muddier. If I attempt to brighten the rest of the mix, the hi-hats go from annoying to piercing. If a new mix is impossible, I'll use M-S encoding and/ormultiband compression to make the best of it, but it's going to be a serious compromise.
On the other hand, if the overall mix is boomy or bright, but otherwise well-balanced, I can address that in mastering. Most nearfield monitors don't extend far below 50 Hz, so out-of-control sub bass is a common problem, especially in electronic music. A subwoofer tends to make things worse in an untuned room, which can have resonances resulting in a cut or boost of up to 30 dB at a given frequency. Still, using a frequency analysis plug-in and frequent A/B comparisons with a reference track you trust can help.
In many ways, starting with higher sales. I've always argued that a good mastering job more than pays for itself in the long run. Obviously you'll have more luck with TV/film placements and contests as well.
I've written a few articles at mixingadvice.com to help artists keep their mixes on target. My next article will be specifically on preparing final mixdowns for mastering. Hopefully I can wrap that one up in the next week or two.
Finding the right engineer isn't easy, and Google isn't much help. Artists can look in the credits of their favorite albums, but those engineers might be out of reach financially. Still, you get what you pay for up to a point, so stay away from the $25 per song outfits. Most mastering engineers, myself included, will master a test track for free, so take advantage of it!
Some mastering engineers charge by the hour, others by the song, and others negotiate their rates on a project-by-project basis. You're paying most of all for a mastering engineer's experience, but also their room and their gear, which doesn't come cheap. A reputable pro can't afford to stay in business working for $99 an album, but a hobbyist with a laptop full of pirated plug-ins can. I charge $150 plus $50 per track, so a 10-track album is $650. That's on the low side for my level of experience, but I don't do any discounts or "friend deals." To keep things simple and fair, everybody pays the same rate.
All my work is done over the internet. It's been years since I had a client sit in on a session, mainly because I split each job up into several small sessions to keep my ears fresh. Of course, I still try to get as much input as I need to deliver what the client wants. I ask for reference tracks, and usually try to nail down one track to the client's complete satisfaction before moving on to the rest. And if what I deliver isn't exactly what they wanted, I keep going back to the drawing board until it is.
If you're looking for a loud release, you need to use EQ and compression carefully and consistently on the individual elements of your mix. Roll off the low end on with a highpass filter on everything but the kick and bass - even effect returns, at anywhere from 100-300 Hz. Watch out for the suboscillator on synths, both hardware and virtual. Check your sub bass with a frequency analysis plug-in and use a low cut as necessary, even if it's as low as 20 Hz. Some FM synths create weird supersonic peaks, so watch for those too. It's easier to boost a sparse arrangement than a dense one, so mute non-essential elements.
If you're not so concerned about volume, congratulations! I love you. We can focus instead on what's truly important - delivering your emotional message in as potent a package as possible.
Realistically, most clients want the loudest master they can get without destroying the dynamics of their mix, so I'm always searching for the best compromise.
There's loads of additional information at resonancemastering.com, and I can be reached via email at brian@resonancemastering.com or by phone at 714-698-9869 during working hours.
Brian Hazard is the head mastering engineer and owner of Resonance Mastering in Huntington Beach, California. He's mastered hundreds of CDs since he launched the business in 1998 under the name 11th Records Mastering. Although fluent in all genres, Brian specializes in mastering electronic music.
Please leave any questions you have for Brian in the form of a comment below!
by Jon Ostrow at Thursday, 3 June 2010, 9:10 am
by Jon Ostrow at Tuesday, 18 May 2010, 8:00 am
by Jon Ostrow at Tuesday, 25 January 2011, 8:14 am
by Jon Ostrow at Thursday, 29 April 2010, 11:00 am
by scottyhons at Wednesday, 9 February 2011, 3:11 pm
I loved your responses, Brian. I look forward to your next post about prepping songs for mastering!
Thanks Chris! Yeah, I'd better start writing!
Cheers! Very interesting. Just a couple of follow up questions:
1) I assume that bass and kick also should be rolled off, but at a lower frequency (50-100hz), right? 2) Is it a bad idea to apply a high pass filter on the main strip in addition to the individual tracks? I guess by listening to all tracks together one can hear compunded bass that wasn't obvious when soloing tracks and rolling off individually. 3) Should I not add master compression at mixdown – simply to give the mastering engineer more control of the final sound? Or should I find the sound I want in my own mix, and send that to the mastering engineer for leveling – and not so much sound shaping?
1) You don't necessarily need to roll off the bass and kick. It totally depends on what's going on down there. Still, I usually do end up rolling one or both off, sometimes as low as 22 Hz. I've got an article on using a frequency analyzer along with before/after examples at mixingadvice.com if you want all the gory details.
2) Yeah, bad idea. Any processing applied to the entire mix is, by my definition at least, mastering. Therefore it should be performed by your mastering engineer.
3) Also a bad idea, for the same reason. Mastering engineers differ, but I always request 24-bit .wav or AIFF files that peak under 0 dB and have no processing (EQ, compression, limiting, etc) on the master bus. Compression on the mix completely ties my hands. There's no way to undo the attack and release characteristics, which are permanently imprinted on the sound.
Thanks for the questions!
Good read.
Some of my favorite recordings are of live concerts (not bootlegs). For example, Live at Okonokos by My Morning Jacket and How the Wes Was Won by Led Zeppelin. How would you approach the mastering of live concerts? What are some obstacles or challenges you anticipate for such recordings? Further, what are some things that can be done in the field to make your job easier for a live recording?
Great question! My approach really depends. Often a show is recorded by patching into the mixing board, sometimes with a couple extra mics out in the audience. If that's the case, I'll back off the compression unless there's clearly a dynamics problem. On the other hand, if the show is multi-tracked and mixed later in the studio (often with vocal overdubs), I'll treat it more like a typical studio recording, and aim for the same density and punch.
Routine challenges include too much crowd noise, rumble (especially with risers), a bad or constantly changing mix, and for acoustic recordings, noise from the air conditioner. I recorded choral performances for a few years, and my biggest challenge there was the choir moving around the auditorium! I'd have two mics set up facing the stage, only to discover that they walk in singing from the back of the room.
My job is easier when mix balances are fairly consistent, so don't skip the sound check! Having each track separated isn't necessary, but having the band's mix separate from the audience feed is super helpful. In rare cases, bum notes in the vocal can be corrected from a separate track, but usually there's too much leakage. With electronic acts, three stems are ideal: vocals, backing tracks, and audience.
Mixing and mastering a live concert involves a high degree of compromise and creativity. It's never the same job twice!
Finally posted that article I promised!
A Mastering Engineer’s Guide to Final Mixdown http://passivepromotion.com/a-mastering-engineers...
awesome! Thanks Brian! Ill be sure to pass this on to my network as well
Thanks for following up!
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