Mastering (audio)
Mastering engineers often apply equalization and dynamic range compression in order to optimize sound translation on all playback systems.
The cutting head, driven by the energy transferred from the horn, inscribed a modulated groove into the surface of a rotating cylinder or disc.
In large recording companies such as EMI, the mastering process was usually controlled by specialist staff technicians who were conservative in their work practices.
Additional operations, such as editing, specifying the gaps between tracks, adjusting level, fading in and out, noise reduction and other signal restoration and enhancement processes can also be applied as part of the mastering stage.
If the material is destined for vinyl release, additional processing, such as dynamic range reduction or frequency-dependent stereo–to–mono fold-down and equalization may be applied to compensate for the limitations of that medium.
Mastering engineers need to examine the types of input media, the expectations of the source producer or recipient, the limitations of the end medium and process the subject accordingly.
Steps of the process typically include the following: Examples of possible actions taken during mastering:[8] A mastering engineer is a person skilled in the practice of taking audio (typically musical content) that has been previously mixed in either the analogue or digital domain as mono, stereo, or multichannel formats and preparing it for use in distribution, whether by physical media such as a CD, vinyl record, or as some method of streaming audio.
The best mastering engineers might possess arrangement and production skills, allowing them to troubleshoot mix issues and improve the final sound.
Generally, mastering engineers use a combination of specialized audio-signal processors, low-distortion-high-bandwidth loudspeakers (and corresponding amplifiers with which to drive them), within a dedicated, acoustically-optimized playback environment.
The equipment and processors used within the field of mastering are almost entirely dedicated to the purpose; engineered to a high standard, often possessing low signal-to-noise ratios [at nominal operating levels] and in many cases, the incorporation of parameter-recall, such as indented potentiometers, or in some more-sophisticated designs, via a digital-controller.
Some advocates for digital software claim that plug-ins are capable of processing audio in a mastering context, though without the same degree of signal degradation as those introduced from processors within the analog domain.
Most mastering engineer accolades are given for their ability to make a mix consistent with respect to subjective factors based on the perception of listeners, regardless of their playback systems and the environment.
