Mastering is the process of taking a number of final mixes intended to be included together, and giving them some sonic continuity, maximizing the dynamic range, and helping ensure the best signal level. Done properly, this can also have the subjective effect of adding dynamic "punch" or a sense of "polish" to the mix (you have to hear it). Mastering is the last chance you get to make creative decisions about your material before it is committed to polycarbonate.

I master using the Alesis Masterlink ML-9600. This is a dedicated, professional hardware solution used by engineers and producers around the world. Software mastering applications are very good, but I prefer working with the Masterlink. It is within the Masterlink that I crop tracks, put songs in order, create any fade-ins or fade-outs, add things like compression, limiting, and EQ - as needed - to the mix, and try to provide some sonic consistency to the whole playlist. Then I burn a master CD to Red Book specs, and we're done - the CD is ready for duplication.

HOWEVER, before I send the stereo mix to the Masterlink, there is a great deal of (and this is my term) "massaging" that I apply to the track with various plug-in's like compressors and limiters and maximizers, and so on, such that what goes on in the Masterlink is a glorified form of editing; the majority of the work is already done.

Mastering engineers, particularly those who mastered during the analog era, possess an incredible amount of technical knowledge, and I would not insult them by calling myself a mastering engineer. If you can afford it, and it's that important to you, having your project mastered by someone who specializes in that area (SoundLab at Disc Makers, for instance, or the Mastering House in Pottstown), it might be worth the extra money. Having said that, I have heard recordings mastered by dedicated mastering facilities, and in my judgment, my Masterlink has no trouble keeping up. I also know of one duplicating house that uses the Masterlink to prep (for a fee) all un-mastered or non-CD format mixes sent to them. If you already have a mix, and you're wondering what mastering might add, feel free to bring your stereo mixes on CD over for a test drive to see if an improvement is possible.

A current trend in mastering is sonic maximizing, or basically making a mix as loud as it can possibly be. This can be nice if the effect of somebody SHOUTING DIRECTLY IN YOUR FACE for about an hour appeals to you. Sometimes this works out, and the result is very impressive. Other times, clipping can clearly be heard, and if not clipping, pumping. I will do my best to produce a good, solid mix, but I cannot guarantee that it will be the LOUDEST mix you hear on a given day. There was a time when dynamic variation was considered desirable. In fact, it was referred to as "dynamics." The maximizing mastering approach is based on the assumption that louder is better. If you agree with that assuption, you can always turn your stereo's amp volume up a notch or two.

what is mastering?