Each song's eq may seem best by itself, but if you series them together, unexpectedly one tune sounds too bright (or too dull ...). Changing the eq can even whatever out. Tip # 1: remember that any eq changes to your stereo mix affect the whole mix - if you want to cut 3 db at 80Hz because your mix sounds muddy, keep in mind to examine how that affects all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Tip # 2: if you're uncertain about an eq choice throughout mixdown, know that it's simpler to cut lower frequencies in mastering than to improve them, and simpler to improve higher frequencies than to cut them. Compression: In mastering, this is used not just to manage a mix or to add character, however also to "print" or send as much level to the master as possible without clipping the signal. This can practically feel like a competition for who has the loudest cd (" my record sounded terrific up until I listened on my CD carousel and Green Day was 5 db louder!"). Mastering engineers need to stabilize level with sonic integrity. Levels: Preferably, a listener can play your record and not need to get up to adjust the volume. This is dealt with in mastering, after the record has been sequenced. Only then can you really know how levels relate to each other as one tune ends and the next starts.
Spacing & Crossfading.
Spacing: there are various viewpoints regarding how one need to approach the spaces put in between songs on a record. Some feel the downbeat of one song should fall at the start of a new bar, in the tempo of the previous tune (to continue the circulation.) Others believe you ought to avoid this like the plague, due to the fact that it reduces the effect. In the end, do whatever feels. There is no requirement. Cross-fade your songs if you like, or location 6 seconds between them. (2-4 seconds is common in the majority of popular, non-classical records, but it depends on you.) Final tip: you might be inclined to master the exact same recordings that you mixed, whether it is for monetary factors, innovative factors, or merely due to the fact that you can. But we strongly suggest that you get somebody else to master your project. The neutrality and fresh ears they bring to the table invariably lead to a more powerful, more cohesive album.
Normal areas of issue for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one tune to the next, and spacing between tunes. Or you might have ten songs mixed by three various engineers in five various studios.
Each song's eq might seem best by itself, but if you series them together, suddenly one tune sounds too bright (or too dull ...). Idea # 1: remember that any eq modifications to your stereo mix affect the whole mix - if you want to cut 3 db at 80Hz due to the fact that your mix sounds muddy, remember to examine how that affects all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Compression: In mastering, this is used not simply to manage a mix or to add Free Type Beat Hip Hop character, however likewise to "print" or send as much level to the master as possible without clipping the signal.
