TABLE OF CONTENTS

INTRODUCTION .............................................................................................................................................. 3

The #1 Mistake To Avoid ............................................................................................................................. 6

Take Notes ........................................................................................................................................................ 8

Mastering References ................................................................................................................................... 9

Choosing The Right Tools.......................................................................................................................... 11

Best Compressor Plugins For Mastering .......................................................................................... 12

Best EQ Plugins For Mastering ............................................................................................................ 13

Best Tape Saturation Plugins For Mastering .................................................................................. 14

Best Compressor Plugins For Mastering .......................................................................................... 14

Best Limiter/Maximizer Plugin For Mastering............................................................................... 15

Metering .......................................................................................................................................................... 16

Mix and Master Comparison..................................................................................................................... 18

Using The Limiter ......................................................................................................................................... 19

Case Study ...................................................................................................................................................... 20

Step #1 - Taking Notes .......................................................................................................................... 21

Step #2 - Setting Up The Project ....................................................................................................... 21

Step #3 - Metering .................................................................................................................................. 24

Step #4 - Push It To The Limit ............................................................................................................ 25

Step #5 - Master Buss Compression ................................................................................................. 26

Step #6 - Surgical EQ ............................................................................................................................. 28

Step #7 - Multiband Compression ..................................................................................................... 30

Step #8 - Analogue Emulation EQ ..................................................................................................... 31

Step #9 - Analog Tape Saturation ..................................................................................................... 34

Step #10 - Stereo Image Shaping ..................................................................................................... 35

Conclusion....................................................................................................................................................... 36
INTRODUCTION

As you may or may not know, my name is Gugulethu from South

Africa. I’m a music producer, dj and remix artist. I love sharing
my knowledge with anyone who is interested and hope it helps
people and perhaps even change their lives.

Thnx for taking your precious time to download my mastering

guide. I will not ramble on in this intro, because I know you want
to get straight into the meaty stuff so I’ll cut out all the fat and
get straight to the meat.

BUT…

There’s no right or wrong way to do mastering there are some

guidelines you need to follow to make sure that your master
sounds good when played in various places and different sound
devices.

Mastering used to be something that was only done by

professionals who had a lot of experience in the field, very
expensive gear and acoustic treatment.

However in today’s world, there are a lot of good and easy to

access tools that you can use to master your own songs at the
comfort of your own home.
In this guide, I have prepared a step by step guide that you can
use to get your music ready for clubs, radio, free download or
even a remix contest.

This is a concise guide, which means you can use these

techniques in any DAW.

If you’re looking for a software based mastering tutorial then

send me an email and I’ll try to do a blog post about it.

I have to mention that this guide is not about mastering an

album, the main focus here is to get one song ready for clubs,
radio play, download etc.

Note that this is a digital mastering guide, we’re not going to

focus on analogue mixing but the same principles can definitely
be applied to an analogue domain.

Mastering is the last step of the production process. This is where

you take a mix and get it ready for the consumer.

Mastering is a way to connect the artist with the audience. That

should be your main focus. Too many people focus on the tools
such as EQ, Compressors etc.

Although we do use those tools but a song is made to connect

with a listener. The main goal is all about intimacy and getting
the listener attached to the song.
It’s all about feel so make sure that you emphasize that when
mastering a record. Make the listener feel great when listening to
the song and feel connected with the artist.

Music lifts us up and bring us all together.

Many people don’t get great sounding masters because they

focus on the tools then end up doing unnecessary tweaks that
never help the record reach its destination.

So the first time you listen to a record, focus on connecting the

audience with the artist and how you can make that bond
timeless.

Oh and one more thing before we start.

I know that the majority of people who pick up this guide will not
do anything with it. That’s just the truth.

Most people will just read a little bit of it, get distracted, and
either forget about it or just not bother doing what I teach.

I hope that you are one of the people who will find this
information of value, and take action to make your music sound
as professional as possible.

Also, you may have heard of some of the things I talk about in
this guide if you are more of an experienced engineer.

So with all that said, let’s get into it.

I wish you the best.

THE #1 MISTAKE TO AVOID

The biggest mistake I see a lot of people do, especially online, is

that they add an EQ, a Compressor, Multiband and a Limiter right
from the beginning.

They don’t even listen to the song they just do things by default.

I bet you’ve seen such videos online where someone claims

they’ll teach you how to master your own tracks and then they
start adding plugins.

RUN AWAY!

You need to always have a valid reason as to why you’re adding a

processing tool, don’t do things by default.

So your approach towards the song is what will determine if

you’re going to fail or get it right.

Other Audio Mastering Pitfalls You Need To Avoid

1. Not Knowing Your Room - You need to know the

strength and weaknesses of your room to achieve great
sound. Listen to a couple of tracks before mastering; in the
seat you’ll be sitting on during mastering. Then you’ll have a
much better idea of how your project should sound.
2. Too Much Bottom - This is caused by lack of room
treatment. Use reference material to avoid this pitfall.
3. Poor Treble - As you keep polishing your mix and adding
some shine, stuff such as sibilance can creep up. Don’t be
scared to use a de-esser in your mastering chain to tame
down the sibilance coming from vocals, hats and cymbals.
4. Testing The Master - Always check your master on
different monitors, speakers, headphones, the car, home
theatre, earbuds etc. keep switching between your reference
songs and your master when testing.
5. Over-Compressing/Limiting - Doing this will kill the
dynamics and life out of your music. When it comes to
mastering, less is more.
6. Overusing Equalizers - Never do a 3dB boost or cut in the
mastering stage better go back to the mix to fix the
problem. Keep in mind that you’re processing the whole
song so a minor adjustment affects a lot of sounds not 1.
7. Mastering Doesn’t Change A Song - You cannot fix a
turd. If you have a bad mix, then mastering won’t change it
into a great sounding song. Instead it might make it worse.
Some compare their song with a professional song and think
the missing puzzle is mastering. You’re wrong, get the
mixing part right and the mastering will be great. It’s all
about the mix, sound design, recording and experience.
Think of mastering as putting a frame on a picture. The
frame doesn’t change the picture it just makes it look better.
Obviously there are many other pitfalls but these are the most
common mistakes all beginners make.

TAKE NOTES

The first thing you need to do before adding tools is to listen to

the entire song then TAKE NOTES. While you’re listening to the
song you’re busy taking notes of what you’re going to need to
improve on the song.

This is how you know if you’re taking your advice from a

professional or an amateur.

Every time you go to a professional engineer you’ll see that they

first take notes of the things they’re going to do on the song
before jumping right into action.

So open your note pad or a physical note book (whatever you

prefer), listen to the song and take notes. That’s step #1.
MASTERING REFERENCES

This is the step which will help you avoid guess work. No more
adding a plugin and hope it will make your master sound better.

Ask any great mastering engineer if they have a perfect

environment or tools that will get the job done without
referencing and they’ll tell you that’s just crazy.

No matter how much you spend on acoustics and gear you’ll

always fall short.

This why reference material is really important. This helps you

deliver something that will be competitive and consistent with
other songs out there.

I always recommend that you have at least 10+ songs that you
bring up in the beginning of every mastering session.

A lot of people tend to confuse a production or mixing reference

with a mastering reference. The approach is not the same.

In mixing and production you focus on individual sounds like how

the kick sounds or if the snare is punchy.

While on the mastering stage you’re focusing on how far you can
go with the levels. You look at how far you can go with the
midrange, high frequencies, low-end and things such as
dynamics.
You don’t focus on individual sounds but the whole song. So you
use your reference songs differently from the way you would use
them during mixing.

There’s no need to listen to the whole reference song during

mastering. You focus on certain details, things like; this song has
a good midrange balance so I’m going to use it for referencing
the midrange.

The sibilance on this song are well controlled so I’m going to use
it to reference the sibilance.

This is where your notes come in handy, you don’t want to keep
going back and forth between your reference songs and your
project while mastering the song.

Switch between your project and reference material while you’re

taking notes.

Move quickly on your reference tracks don’t get stuck on 1 ref for
a long time this is mastering not production or mixing.

So listen to the refs then move quickly to your project, this will
also help you avoid ear fatigue. You also don’t need to listen on a
loud volume while still taking notes, this will also avoid ear
fatigue.

Another key thing is to focus more on feel instead of listening

with your ears only. You want to focus on how the low-end feels
when it hits your chest and stomach then try to replicate.
If you only use your ears you won’t achieve the goal, listen with
your entire body.

CHOOSING THE RIGHT TOOLS

Before I start showing you how to master a song I first need to

talk about the tools.

You have to understand that not all processing tools are built the
same and they’re all designed for specific purposes. This means
that certain EQs are great for mastering a song while others are
great for other purposes.

It’s much better to use a tool that is designed for mastering

purposes instead of forcing a certain plugin just because you like
it or you’re familiar with it.

I’m going to recommend certain tools for different purposes but

feel free to use what you’re comfortable with. Just know that you
could get a better sound if you choose any of the recommended
ones.
These tools have passed the test of time with flying colours and
are widely used on most of your favourite songs. I’m not just
recommending them out of the blue.

They’ve been tested and approved not only by me but various

other engineers.

Best Compressor Plugins For Mastering

1. PSP MasterComp - This one is specifically designed for

mastering and it is musical.
2. UAD Shadow Hills Mastering Compressor - Another
great sounding compressor plugin that’s designed specifically
for mastering.
3. SSL G-Master Buss Compressor - An emulation of the
renowned master buss centre compressor of the SSL 4000 G
console. Choose between UAD and Waves, they’re both
great.
4. UAD API 2500 - Versatile dynamics processor that lets you
shape the punch and tone of mixes with absolute accuracy.
5. Waves BSS DPR-402 - The BSS® DPR-402 dynamics
processor is known for its punch, versatility and the
explosive sound it delivered on countless rock, dance and
hip-hop hits since the 80s.
 6. Waves V-Comp - It recreates the rich lush buss sound of
the vintage 2254 hardware compressor.
7. Fairchild 660 & 670 - The Fairchild is known for its
advanced compression techniques and incomparable sound.
Both Waves and UAD have great sounding emulations of the
Fairchild.
8. Waves Abbey Road TG Mastering Chain - The channel
strip also come with a great sounding emulation of the
TG12413 Compressor/Limiter Module.

Best EQ Plugins For Mastering

1. Pultec EQs - You can use any emulation company of your

choice (UAD, Waves, Softube etc.). They’re all great and add
character to your masters.
2. Ozone 8 - The EQ and Vintage EQ will work well for
mastering.
3. Sonnox Oxford EQ - This one is transparent, adds no
flavour which is great for surgical purposes and if you don’t
want to add any coloration.
4. Brainworx bx_digital - Great for mid-side processing.
5. Abbey Road TG Mastering Chain - The EQ on the
mastering chain is a beast for adding colour to your master.
6. UAD Chandler Curve Bender - Another great Abbey Road
EMI TG12345 desk emulator, it’s a beast.
 7. F6 Floating-Band Dynamic EQ - The F6 is also designed
for mastering purposes and it’s great for surgical purposes
(problem solving).

Best Tape Saturation Plugins For Mastering

1. Ampex ATR-102 - Offers cohesive sound, punch, and

ability to provide subtle-to-deep tape saturation.
2. Sonnox Oxford Inflator - Increase loudness, without
sacrificing sonic quality or dynamic range.
3. Waves J37 Tape - Abbey Road J37 faithfully recreates a
unique sonic signature of the original machine. It offers
distinctive frequency response and harmonic distortion.
4. Waves Abbey Road Vinyl - Give your music the vintage
warmth of vinyl records played on classic turntables and
needles: a precise model of Abbey Road Studios’ vinyl
cutting and playback gear.
5. PSP Vintage Warmer 2 - It combines rich, warm analog
processing and capable of generating saturation effects
typical of analog tape recorders.
6. Softube Tape - Add smoothing, saturation, and weight to a
mix. It packs three different tape machine modules in one -
ensuring a tasteful addition to almost any track.

Best Compressor Plugins For Mastering

 1. FabFilter Pro-MB - Offers powerful combination of high-
quality processing, optimized workflow using the interactive
multiband display, and all the pro features you need.
2. Waves C6 - The C6 gives you all the multiband
compression and dynamic equalization you need to control,
tame, and shape your sound with ease.
3. UAD Precision Multiband - The Precision Multiband plugin
can handle everything from complex dynamics control to
simple de-essing.
4. Drawmer S73 Intelligent Master Processor - The S73
does most of the job for you by making the choices a
mastering engineer would make.

Best Limiter/Maximizer Plugin For Mastering

1. Fabfilter Pro-L 2 - A versatile peak limiter that delivers

excellent results for any mastering task with eight different
limiting algorithms.
2. Waves L3-16 Multimaximizer - Offers a wide variety of
sonic flavours ranging from analog warm to digital cool, no
matter what genre, no matter what sound, you’ll stand out
from the crowd, loud and clear.
3. UAD Precision Limiter - This transparent mastering limiter
does not pass audio through any filters; it only affects the
gain.
 4. Sonnox Oxford Limiter - A long-time favorite by industry
pros. It delivers maximum loudness and presence while
retaining clarity and transient detail.
5. FG-X Mastering Processor - Award-winning mastering
plugin. Make your mixes louder without altering the
dynamics, removing punch or skewing your mix balances.

These are the highly used and most recommended tools for
mastering, feel free to use whatever you want if you believe it will
compete.

METERING

This is the easiest part and you shouldn’t stress too much about
it. Don’t get me wrong though, this step is also very important.

The first thing you need to do is to determine your loudness

requirements. Are you doing the mastering for CD, streaming
websites, digital download stores, vinyl or offline radio?

For CD mastering and vinyl I would advise you to use reference

material, especially songs in the same genre that you’re currently
mastering.

If you’re sending your music to radio stations then ask them how
loud the song must be.
The right amount of loudness for online streaming websites is
easy to find online. But to make things much easier for you,
here’s how loud your song should be for each streaming service.

Most streaming services normalize audio so that all the music on

their platform plays at a consistent volume. This is implemented
so that the audience isn’t always reaching for the volume control,
and it’s generally considered to be a great idea.

Since these websites measure loudness by using LUFS I have to

mention what it means. LUFS stands for 'loudness units
relative to full scale'.

This is a more accurate way to measure loudness of an audio.

Apple Music - 16 LUFS

YouTube - 13 LUFS

Spotify - 14 LUFS

Tidal - 14 LUFS

If you’re wondering how you can measure LUFS then there’s a

whole range of plugins you can use to measure LUFS. Even stock
plugins on most DAWs do come with this function.

Waves WLM Plus Loudness Meter Suit is what I use for metering
because it’s an all in one plugin. It measures LUFS, Peak, Phase
Correlation and more.
MIX AND MASTER COMPARISON

After determining how loud the song must be then the first thing
you want to do is to get the right level from the beginning of your
mastering stage.

Let’s say you have 8 slots in your chain, add a limiter/maximizer

in the 8th slot.

Even though you won’t use all 8 slots you just want to make sure
that the limiter is the last tool in your chain.

If you’re using a DAW such as Cubase, Logic, Pro Tools etc. then
duplicate the song. Mute the duplicate.

You’re going to use the duplicate as pre-master and the original

mix as post-master (or vice versa, it’s totally up to you).

Create a buss/group channel and call it Master Buss or whatever

name you prefer.

Add a limiter on the master buss channel so that both tracks are
at the same level then do your processing in the insert slots of
the original mix while leaving the duplicate untouched.

The goal is to keep switching between the original mix and the
master to check if all the processing you’re adding is improving
the song or making it worse.
The reason you send the 2 tracks (duplicate and original) to a
group is to make sure your reference content doesn’t get affected
by your limiter/maximizer.

You must add a limiter(s) in the group channel so that when you
switch between the duplicate track (which is dry) and the
processed mix track you get to compare the before and after at
the same volume.

Watch the video training if any of this is confusing.

USING THE LIMITER

Layer your limiters to avoid overworking them. Limiters and

compressors sound good when you use them in stages as
compared to just using one.

A limiter will make your high-mids to sound harsh when it is

overworking. To get a crisp and clean sound you have to layer
them in stages.

Another reason you must add the limiter first is because if you
process your mix and then add the limiter after the limiter will
affect all the processing you’ve done.
If you have a boost then it will be destroyed by the limiter. That’s
why you need to add the limiter first so that you can hear what
the limiter will do to your EQ and other processing tricks.

This is a time waster because once you finish mastering a song

and then add a limiter last then you’ll have to go back to make
some tweaks so that the limiter can work with your settings.

So make sure that you use the limiter to get the right level first.

Then the next step will be determined by the notes you wrote
down while listening to the whole song in the beginning of your
mastering session.

CASE STUDY

In this case study I’m going to show you how one of my songs
was mastered.

The song was mastered using analogue equipment only but I’m
going to show you how I would do it using plugins.

I’ll be using Cubase for this tutorial but feel free to use your
favourite DAW it makes no difference.

Make sure that you watch the videos to hear the before and after
for each processing tool. In this PDF I’m only going to explain
what I did to improve the mix.
Let’s Get Started.

Step #1 - Taking Notes

The first step is to compare your song with the reference songs.

I keep switching back and forth between the reference songs and
my project then take notes of everything that I’ll need to do in
order for my master to compete.

First thing I look at is overall loudness, then check tonal balance,

compression and finally stereo image.

I got my notes and I’m ready to start mastering the song.

Let’s start with setting up the project.

Step #2 - Setting Up The Project

I first load the mix in Cubase then duplicate the mix track and
mute the duplicate.

This helps me to switch back and forth between the dry

(duplicate track) and processed (original mix track) signal.

I do it this way because some plugins cut the audio when you hit
the bypass button. So I want to be able to hear the before and
after without any destruction, as smoothly as possible.

Next up I’ll send both tracks to a group channel where I’ll add a
limiter.
Since I’ll be doing the processing on the original mix track,
putting the limiter in the group helps me switch between the dry
and processed signal at the same volume.

It’s important to hear the before and after without volume change
so that you can hear if what you’re doing is improving the mix or
just making it worse.

We’ll look at the limiter just in a moment.

Here’s an image of how the whole project and routing is setup.

As you can see, the duplicate is muted. Both the tracks are sent
to the group channel which I call ‘Master Buss’. The master buss
is a pre-master fader.
Step #3 - Metering

From my notes I realized that most of the reference songs I was

using were peaking at:

True Peak +2.5dBTP

LUFS -9 to -8.3

So that means they were all mastered for CD and that’s the
loudness I’m also going for. The next step is to add a metering
plugin in the post master fader.

That’s the post master channel or stereo out. I used the Waves
WLM metering plugin for this project.
Step #4 - Push It To The Limit

The next step is to use a limiter to push the mix to around -8.4
LUFS just like my reference songs.

I’ve already explained above why you need to use the limiter first
before using any other tool and why you need 2 limiters instead
of using 1.

For this project I used the Waves L3-16 and the classic L2 limiter.

Both limiters are inserted in the pre-master channel (master buss)

so that both the dry and processed signal can be affected by the
limiter when comparing the before and after.
As you can see they’re both limiting less than 1dB of gain
reduction each. None of them is overworking which makes the
limiting clean and doesn’t squash the signal.

Step #5 - Master Buss Compression

When I was using the reference songs I realized that the

compression that was done during mixing the song was enough
so this song didn’t need a master buss compressor.

It only needed minor compression in the low-end and the

midrange only. So I decided to go with a multiband compressor.

But I chose to add the Waves Puigchild which is an emulation of

the classic Fairchild 670 in the first slot of the chain.
I added it just for its analogue circuitry and flavour it’s not doing
any compression. All it is doing is just adding analogue character
to the mix.

Since it was increasing the volume I decreased the output gain by

-1dB. I don’t need any more volume since the 2 limiters have
already reached the maximum standard of loudness.

As you can see, no compression is going on I’m just adding

analogue warmth to the mix.

I never do things by default, I figure out what the song needs I

don’t do things just because I saw someone else doing it. This
also helps me keep the dynamics of the song instead of killing the
life out of the song.
Step #6 - Surgical EQ

This is the stage where we clean the mix. Remove any unwanted
frequencies to help the song to breath. At this point I only cut
frequencies I don’t create any boosts.

That is why this stage is called surgical EQ, I’m just fixing
problems.
The first thing I did for this particular project was to do a high-
pass filter at 30Hz. This removes low-end rumble which will help
the speaker to produce the bass without getting chocked.

It also gives me more headroom to add more volume to the

entire mix, if necessary.

I’m also thinking about the next step where I’m going to use a
multiband to compress in the low-end so I don’t want the
compressor to overwork.

Next up I created another cut at 400Hz. I realized that the mix

was a bit muddy in the 400Hz range when compared with other
commercial songs. This also removed the hollowness of the
vocals and they’re sounding more professional.

I also created 2 more cuts at 6.9kHz and 10kHz. I realized the

high frequencies of the mix were a bit high when compared with
other songs.

Finally I created a low-pass filter at 19kHz. According to the

reference I had to cut till around 12kHz but that sounded way too
much to my ears so that’s why I chose 19kHz instead of 12kHz.

These were minor cuts but they made a big difference and helped
the overall frequency spectrum to be well balanced.

At this point the mix was more open and sounding clearer.
Step #7 - Multiband Compression

After analysing a couple of reference songs I realized that the

high frequencies were well compressed in the mix so they don’t
need any compression.

Only the low-end and midrange need compression in this mix. So

I added the Waves C6 for this job.

I bypassed the high frequencies from 3kHz and above then

compressed the midrange and low frequencies.

The low-end didn’t need too much compression so the gain

reduction is around -1dB. I’m just guessing because the C6
doesn’t have a gain reduction meter you have to use your ears.
For the midrange the gain reduction is probably reaching
somewhere around -3dB max.

This is not always the case though, in some songs you’ll have to
add more compression. This song was mixed well so minor
compressor tweaks were necessary to avoid squashing the song.

This is another good example of not doing things by default but

using your ears to improve the sound.

Step #8 - Analogue Emulation EQ

At this point most of the problems are fixed, everything is place

and sounding great. It’s time to add some character to the song.

While I was using reference tracks to compare this mix with other
commercial songs I took notes for the specific frequencies I need
to boost to help the song to compete.

The EQs I love for this job didn’t have those frequencies so that is
why I chose to go with the Waves H-EQ because it also has some
good analogue flavours.
I created a small boost at 70Hz to add some weight to the song.
It is a subtle boost but enough to get the job done for this
project.

This mix was lacking in the 3kHz range so I created another

boost in that frequency range. This also added some brightness
to the entire mix.

I tried to use the H-EQ to add some air in the high frequencies
but it didn’t give me what I was looking for so I added the Pultec
EQ for this job.
I used the Pultec EQ to add some air to the mix by boosting
16kHz. This high-shelf boost adds some shine to the mix.

I chose 16kHz because during the surgical EQ I did cuts at 10kHz

and 7kHz so I didn’t want to bring up those frequencies.

I also added a tiny Pultec style EQ boost at 60 Hz to bring back

the low-end that was taken by the multiband compressor. This
adds more weight to the song.

This is basically a low shelf filter but unlike any other EQ the
Pultec has its own character that is why engineers call it the
Pultec style EQ.
Step #9 - Analog Tape Saturation

To get the effect of analog tape recorders I used the PSP Vintage
Warmer. I like it because it adds warmth and detail without
undesirable side-effects.

I didn’t use the EQ section of the plugin because I didn’t want it

to mess up the frequency balance I already have for this song. So
I’m just using it for character.
I boosted the drive knob then decreased the output level so that I
can have a fair comparison of the before and after results.

The result is a warm analog tape-style compression to the entire

mix.

Step #10 - Stereo Image Shaping

For the final step I added the Ozone Imager, which is my

favourite stereo image shaping tool. I love the fact that it is
multiband.

When comparing this mix with other commercial songs I found

that this song was too mono in the midrange.

I used Ozone Imager to make the song wider. I added small

amounts of width to the lows because I didn’t want the song to
lose its punch.
I added more width in the midrange and the song opened up.
Finally a small amount of width in the high frequencies as well to
balance the entire stereo image.

When the low-end is mono it becomes more punchy so if your

mix is lacking punch then make the low-end mono, that solves
the problem in most cases.

CONCLUSION

That’s it.

It’s not an easy task to accomplish but with this knowledge and
more practice you can do it.

This guide will help you master your own tracks or offer your
mastering skills as a service for other musicians, producers and
artists alike.

If you’re going professional as a mastering engineer then I would

recommend that you also get your room acoustically treated. Get
yourself a good pair of monitor speakers.

Also get some analog gear if you can. Expensive analog hardware
from Manley, SSL and UA does have a unique sound that you just
can't explain.

At the end of the day, it all boils down to the end results. If you
know your digital stuff well, the end-user would NEVER be able to
tell that you didn't use $100,000 worth of analog gear.
Your masters will sound AMAZING and that's all that matters.

Now, go out there and get your music to sound great and
compete with the best.

Remember that mastering is a subtle art. If you have to do major

tweaks or big changes then you’d be better off by going back to
fix that problem in the mix.

Think of mastering as polishing a shoe. You are not changing the

colour of the shoe you’re just bringing it to life.

If you want the song to sound a certain way do that during

recording and sound design not during the mixing and mastering
stage.

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then send them to: info@talkinmusic.com

If you would like to hear the before and after of the song then
check out the videos on this URL:
http://talkinmusic.com/books/vip/mastering-training-sp/

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then go stream or download it from this URL:
http://smarturl.it/sgz_taxi