Each song's eq might appear perfect by itself, but if you series them together, all of a sudden one song sounds too bright (or too dull ...). Changing the eq can even whatever out. Idea # 1: remember that any eq changes to your stereo mix impact the entire mix - if you want to cut 3 db at 80Hz due to the fact that 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. Idea # 2: if you're unsure about an eq choice throughout mixdown, know that it's much easier to cut lower frequencies in mastering than to enhance them, and simpler to improve greater frequencies than to cut them. Compression: In mastering, this is used not just to manage a mix or to include character, however likewise to "print" or send as much level to the master as possible without clipping the signal. This can nearly feel like a competition for who has the loudest cd (" my record sounded excellent up until I listened on my CD carousel and Green Day was 5 db louder!"). However mastering engineers must stabilize level with sonic integrity. Levels: Preferably, a listener can play your record and not have to get up to change the volume. This is attended to in mastering, after the record has been sequenced. Just then can you actually know how levels associate with each other as one tune ends and the next begins.
Spacing & Crossfading.
Spacing: there are various approaches regarding how one need to approach the spaces put in between tunes on a record. Some feel the downbeat of one song need to fall Free Type Beat Hip Hop at the start of a new bar, in the tempo of the previous tune (to continue the circulation.) Others think you must prevent this like the plague, because it reduces the effect. In the end, do whatever feels right. There is no requirement. Cross-fade your tunes if you like, or place 6 seconds in between them. (2-4 seconds is common in the majority of popular, non-classical records, but it depends on you.) Last idea: you may be inclined to master the exact same recordings that you combined, whether it is for financial factors, creative reasons, or simply because you can. However we highly suggest that you get somebody else to master your project. The objectivity and fresh ears they bring to the table usually result in a more powerful, 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 between songs. Or you might have 10 songs mixed by 3 various engineers in five different studios.
Each tune's eq might seem ideal by itself, but if you series them together, suddenly one tune sounds too bright (or too dull ...). Suggestion # 1: keep in mind that any eq modifications to your stereo mix impact the whole mix - if you want to cut 3 db at 80Hz because your mix sounds muddy, remember to inspect how that impacts all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Compression: In mastering, this is utilized not simply to manage a mix or to include character, but also to "print" or send as much level to the master as possible without clipping the signal.
