Each tune's eq may appear perfect by itself, however if you series them together, unexpectedly one tune sounds too brilliant (or too dull ...). Adjusting the eq can even whatever out. Idea # 1: remember that any eq modifications to your stereo mix impact the whole mix - if you wish to cut 3 db at 80Hz because your mix sounds muddy, keep in mind to inspect how that affects all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Tip # 2: if you're unsure about an eq decision during mixdown, know that it's much easier to cut lower frequencies in mastering than to improve them, and much easier to enhance higher frequencies than to cut them. Compression: In mastering, this is used not simply to manage a mix or to add character, however 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 great till I listened on my CD carousel and Green Day was 5 db louder!"). But mastering engineers must stabilize level with sonic stability. Levels: Preferably, a listener can play your record and not have to get up to change the volume. This is resolved in mastering, after the record has actually been sequenced. Only then can you truly understand how levels associate with each other as one song ends and the next begins.
Spacing & Crossfading.
Spacing: there are different viewpoints regarding how one ought to approach the spaces put in between tunes on a record. Some feel the downbeat of one song must fall at the start of a brand-new bar, in the tempo of the previous tune (to continue the flow.) Others believe you must avoid this like the afflict, because it reduces the impact. In the end, do whatever feels. There is no standard. Cross-fade your tunes if you like, or place 6 seconds between them. (2-4 seconds prevails in many popular, non-classical records, however it's up to you.) Last suggestion: you might be inclined to master the same recordings that you combined, whether it is for financial factors, innovative reasons, or merely since you can. However we highly advise that you get somebody else to master your task. The neutrality and fresh ears they bring to the table invariably result in a stronger, more cohesive album.
Typical areas of issue for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one tune to the next, and spacing in between tunes. Or you might have 10 tunes blended by 3 various engineers in 5 various studios.
Each tune's eq might appear best by itself, however if you series them together, suddenly one song sounds too bright (or too dull ...). 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 Free Type Instrumentals Trap 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, however likewise to "print" or send out as much level to the master as possible without clipping the signal.
