Each tune's eq may seem best by itself, however if you sequence them together, suddenly one tune sounds too intense (or too dull ...). Adjusting the eq can even everything out. Pointer # 1: bear in mind that any eq modifications to your stereo mix affect the whole mix - if you wish to cut 3 db at 80Hz since your mix sounds muddy, remember to examine how that impacts all the instruments (e.g. the vocal), not just the bass guitar and kick drum. Tip # 2: if you're not sure about an eq choice during mixdown, understand that it's simpler to cut lower frequencies in mastering than to increase them, and easier to enhance higher frequencies than to cut them. Compression: In mastering, this is used not simply to control a mix or to add character, however also 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!"). Mastering engineers should balance level with sonic stability. Levels: Ideally, a listener can play your record and not have to get up to change the volume. This is dealt with in mastering, after the record has actually been sequenced. Just Trap Instrumentals then can you really understand how levels associate with each other as one tune ends and the next begins.
Spacing & Crossfading.
Spacing: there are various philosophies regarding how one should approach the areas put in between songs on a record. Some feel the downbeat of one tune should fall at the start of a brand-new bar, in the tempo of the previous song (to continue the circulation.) Others think you need to avoid this like the pester, because it lessens the impact. In the end, do whatever feels. There is no standard. Cross-fade your tunes if you like, or place six seconds in between them. (2-4 seconds is common in the majority of popular, non-classical records, but it depends on you.) Final idea: you might be inclined to master the exact same recordings that you combined, whether it is for financial factors, creative reasons, or simply because you can. We highly advise that you get someone else to master your task. The objectivity and fresh ears they bring to the table usually result in a stronger, more cohesive album.
Common locations of concern for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one tune to the next, and spacing in between songs. Or you may have 10 tunes mixed by three various engineers in 5 various studios.
Each song's eq may appear best by itself, but if you sequence them together, unexpectedly one tune sounds too bright (or too dull ...). Suggestion # 1: keep in mind that any eq modifications to your stereo mix affect the whole mix - if you desire to cut 3 db at 80Hz due to the fact that your mix sounds muddy, remember to check how that affects all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Compression: In mastering, this is utilized not just to control 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.
