Normal locations of issue for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one song to the next, and spacing between tunes. Equalization: Often you'll desire to adjust the eq or compression on a mix after you've done the last mix. Or you might have ten songs blended by 3 different engineers in five various studios.
Each tune's eq might seem perfect by itself, however if you series them together, all of a sudden one song sounds too intense (or too dull ...). Changing the eq can even everything out. Tip # 1: remember that any eq modifications to your stereo mix affect the whole mix - if you wish to cut 3 db at 80Hz because your mix sounds muddy, remember to examine how that impacts all the instruments (e.g. the vocal), not just the bass guitar and kick drum. Tip # 2: if you're not sure about an eq decision during mixdown, understand that it's simpler to cut lower frequencies in mastering than to boost them, and much easier to improve higher frequencies than to cut them. Compression: In mastering, this is utilized not simply to control a mix or to include character, but also to "print" or send out as much level to the master as possible without clipping the signal. This can practically feel like a competitors for who has the loudest cd (" my record sounded fantastic until I listened on my CD carousel and Green Day was 5 db louder!"). However mastering engineers should stabilize level with sonic stability. Levels: Preferably, a listener can play your record and not have to get up to adjust the volume. This is resolved in mastering, after the record has been sequenced. Just then can you truly know how levels connect to each other as one song ends and the next starts.
Spacing & Crossfading.
Spacing: there are various viewpoints as to how one ought to approach the spaces put in between songs on a record. Some feel the downbeat of one tune need to fall at the start of a brand-new bar, in the tempo of the previous song (to continue the circulation.) Others believe you ought to avoid this like the pester, due to the fact that it reduces the impact. In the end, do whatever feels. There is no requirement. Cross-fade your songs if you like, or place 6 seconds between them. (2-4 seconds is common in the majority of popular, non-classical records, however it's up to you.) Last suggestion: you might be inclined to master the exact same recordings that you mixed, whether it is for monetary factors, innovative reasons, or simply because you can. We highly suggest that you get someone else to master your job. The objectivity and fresh ears they give the table invariably lead to a stronger, more cohesive album.
Common locations of concern for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one song to the next, and spacing in between tunes. Or you may have 10 songs mixed by three various engineers in five different studios.
Each song's eq may appear best by itself, but if you sequence them together, suddenly one tune sounds too brilliant (or too dull ...). Idea # 1: keep in mind that any eq changes to your stereo mix affect the entire mix - if you desire to cut 3 Free Type Beat Hip Hop db at 80Hz since your mix sounds muddy, remember to check how that affects all the instruments (e.g. the vocal), not just the bass guitar and kick drum. Compression: In mastering, this is utilized not simply to manage a mix or to add character, but also to "print" or send out as much level to the master as possible without clipping the signal.