Asides from making a record loud, achieving a pro-grade master, where one is listening to the audio yet not noticing the mastering engineer’s technical changes after the mastering is completed, is the general goal. The sound should feel enhanced positively, yet the changes will be transparent, cleaner, and louder for most people. Hardware or plugins that alter the sonic character dramatically are almost always avoided.

A typical example of detailed work might be cutting a specific frequency with a small EQ cut or adding small level changes from verse to chorus and back with automation, otherwise known as macro dynamics. Doing so adds excitement during the choruses when transitioning to another section; this would typically be done if the mix engineer had over or under-compensated during the mixing stage. Light compression may be applied to the audio to further tame peaks before hitting a limiter. Other fundamental steps are checking for mono compatibility, phase issues, and other processing, such as de-essing only if required.

To summarise. The ultimate goal of the mastering engineer is to present the audio in its best possible form without the listener being distracted by the engineering improvements through subtle techniques when required. Sound objective judgement, and discipline are common traits of mastering engineers. It is a white glove service at this stage.

Finally the engineer will prepare and test all files to professional industry standards and ensure no detail is overlooked. For example, one must have 48k 24-bit files minimum for film and TV.

Another task during the final stages of mastering, particularly if you have several tracks of audio, for example, on an album, will be to ensure all tracks are at a consistent level, the time between tracks is appropriate, topped and tailed correctly (a fancy term for fade-ins and outs). And metadata added for CD text and online streaming and downloads.

If your target medium is downloads and streaming. You may need a separate master for each, depending on your genre and streaming platform. Moreover, the target LUFS may dictate how loud a master can be as one needs to consider enough headroom on the uncompressed file before uploading; Spotify, for example, converts the file on their end, and if the master is too loud it can result in digital overs. In the case of Spotify and other streaming platforms, a professional mastering engineer will leave enough headroom to ensure no penalties are incurred in the form of distortion when uploaded.

Rather than struggle, you can avoid the common pitfalls and use a professional mastering service, ensuring that it is done right. After all your hard work, let us give your creation the best possible chance for success!

One cannot talk about mastering services or mixing, for that matter, without speaking about AI. It is a good question. And I have evaluated many plugins and services like this.

Overall, it’s a quick fix if you don’t know how to do a master yourself and want a standard result that’s loud. AI is good at repetition and automation of routine tasks. Automated online audio mastering services can do a basic job using their algorithms, making the project sound loud and reducing some peaks and resonant frequencies. However, using such processes is like using a preset over all your hard work. Moreover, essential details will likely be overlooked, and you have probably tried your hardest not to sound like everyone else.

Unsurprisingly they are not considered creative and capable of identifying complicated issues that may require more abstract thinking encompassing artistic and engineering decisions. They cannot differentiate by genre if that vocal was meant to be upfront or pushed back just for one section. It would not be able to make a creative judgement of when corrective EQ should be applied or maybe if automation should be applied elsewhere but not for one bar because the artist did something deliberate.

It is a shortcut, and if you are at this stage, chances are you are looking to release your project commercially. So, make sure you give it the best possible chance of success by having a real person listen and make changes (if they are needed). And then communicate specific revisions if you need to do so. You can’t get that with AI. It cannot react emotionally to a song to hit that sweet spot.

There are many reasons to pick a real engineer versus a bot. But here is one final note that’s worth thinking about. Let’s suppose your track needs to have something changed by the mix engineer, which does happen regularly. Automated online audio mastering services will NEVER tell you this. It will simply master the track and happily take your money! It’s a machine-like process, useful for testing, but it does not care about your work like I or any other good engineer would do.

This will likely continue to be a debate not just for mastering but every aspect of life globally.

So why not sign up for my newsletter for free notifications on topics like this below? You can then voice your opinion directly on blog articles on the Bicaneo.com website.

As mentioned, to most people, the mastering stage is about making the track loud. I prefer to refer to this as competitive. While loudness is important to stand with the top professionals, this is not the case for all genres. Furthermore, other steps are critical at this stage to ensure you squeeze every percentile of potential out of your project. These may include but are not limited to:

• Final corrective EQ checks for unwanted frequencies, such as sibilance, the tonal balance of the overall track, and harmonic correction. (Imagine on a massive festival system, a rogue frequency may cause a DJ to mix in the next tune fast and, even worse, never play the track again because it could harm someone’s hearing at high levels)!

• Phase and stereo balance and width adjustments, M/S EQ, although if the mix engineer were a pro, any issues with phase would have been remediated already.

• Gelling the mix together or expanding a slightly over-compressed mix.

• Ensuring the mix translates well to many systems, including single mono speakers.

• Sometimes gentle colouring may be applied.

• Compression in small amounts/judiciously.

• Overall most mastering engineers and I mainly stick to transparent processing to help the track over the finish line as, although debatable, the creative aspect is not a mastering engineer’s role.

• Ideally, the engineer will not have mixed the track; if they do, there should be a long enough break between the sessions to remain objective.

• Limiting the track before testing its compatibility is always the last sonic stage of the mastering process.

• Metadata and format preparation, revisions and project delivery, including backups to long-term secure storage, for future use.

Great, you are one step closer to getting your final product polished and ready to stand with or above the competition.

If you have mixed your track and prepared your pre-master, you can start by getting a quote on the cost calculator page. I will get back to you as quickly as possible to confirm your order and your specific requirements.

Each master is £50 per track. However, I do charge extra for expedited delivery in a hurry. But! I offer discounts in some instances, up to 20% off for larger orders.

**Also! Suppose I have already mixed a project for you and would like to use my mastering service. In that case, I offer a 10% discount on the project already mixed that is to be mastered. **

I look forward to helping you put the finishing touches on your project!

Depending on how much preparation and remedial work is required, you can expect to hear the first master after 2-3 business days.

A mastering project includes revisions. Once we agree on a final mix, I will prepare and send over your final track marked as completed. It would be best if you take your time and take breaks while checking my work before signing off on it.

After the client has agreed that the project is complete, I will raise an invoice and send it over. Once the payment has cleared in our business account, the project and all requested deliverables outlined on the invoice shall be delivered as agreed before the works commenced.

The delivery is provided digitally via a secure private download link. I will always work with you to resolve any post-delivery problems you may have during a 14-day cool-off period. After downloading and the 14-day cool-off period has lapsed, no refunds can be given for digital products. Unless files are damaged during delivery, or similar extreme issues are discovered as outlined in the Returns and Refund Policy.

Asides from my professional services, clients appreciate my honesty and communication. It’s important to me that you know everything upfront. I am here to help you. So if you have any questions, please contact me before using the service.

Phew! With that out of the way, let’s get down to some creative work 😊

I am looking forward to working with you!!

Omar aka Bicaneo