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Traditionaly one part of audio mastrering is to make sure the audio source sounds about the same on many systems and speaker setups. Great audio mastering will clean up the audio & make it sound commercially loud without ruining the dynamics or transients.
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For example, EMI was very slow in taking up innovations in multi-track recording and did not install 8-track recorders in their Abbey Road Studios until the late 1960s, more than a decade after the first commercial 8-track recorders were installed by American independent studios.Īudio mastering takes an audio source/signal, processes it to sound professional and ready for public consumption. These big companies were often reluctant to make changes to their recording and production processes. In large recording companies such as EMI, the mastering process was usually controlled by specialist staff technicians who were conservative in their work practices. This was done by making fine adjustments to the amplitude of sound at different frequency bands (equalization) prior to the cutting of the master disc. Prior to the cutting of the master disc, the master tape was often subjected to further electronic treatment by a specialist mastering engineer.Īfter the advent of tape it was found that, especially for pop recordings, master recordings could be made so that the resulting record would sound better. Once the studio recording on multi-track tape was complete, a final mix was prepared and dubbed down to the master tape, usually either a single-track mono or two-track stereo tape. Electro-mechanical mastering processįrom the 1950s until the advent of digital recording in the late 1970s, the mastering process typically went through several stages. The introduction of magnetic tape recording enabled master discs to be cut separately in time and space from the actual recording process.Īlthough tape and other technical advances dramatically improved audio quality of commercial recordings in the post-war years, the basic constraints of the electro-mechanical mastering process remained, and the inherent physical limitations of the main commercial recording media-the 78 rpm disc and later the 7-inch 45 rpm single and 33-1/3 rpm LP record-meant that the audio quality, dynamic range, and running time of master discs were still limited compared to later media such as the compact disc. Not until the end of World War II could the technology be found outside Europe. Magnetic tape was invented for recording sound by Fritz Pfleumer in 1928 in Germany, based on the invention of magnetic wire recording by Valdemar Poulsen in 1898. In the late 1940s, the recording industry was revolutionized by the introduction of magnetic tape.
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Fading out the ending of each song (if required).Arranging track in their final sequential order.Equalize audio across tracks for the purpose of optimized frequency distribution.Applying noise reduction to eliminate clicks, dropouts, hum and hiss.Transfer the audio to the final master format (CD-ROM, half-inch reel tape, PCM 1630 U-matic tape, etc.)Įxamples of possible actions taken during mastering.Process or sweeten audio to maximize the sound quality for the intended medium (e.g.Adjust the length of the silence between songs.Sequence the separate songs or tracks as they will appear on the final release.
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Transferring the recorded audio tracks into the Digital Audio Workstation (DAW).Steps of the process typically include the following