If you are producing dance music and have compared your tracks to industry anthems, you may have noticed that on your first try your material doesn’t sound as “big” as your favorite producer’s last hit.  Mastering is an important part of taking your tracks to the next level.  You’ll find top artists like Eric Prydz, Loco Dice, Umek, Valentino Kanzanyani, Deadmau5, Dirtysouth, Robbie Rivera, Richie Hawtin, Henrik B, Adam Beyer, to name a few, have all used mastering engineers on their record labels and productions.  It is safe to assume that having a second set of ears on your project is the best method for finishing pro level tracks.  For years mastering engineers have been behind some of your favorite vinyl records, and now behind many digital labels as well.  Many producers have also been successful in mastering their own music.  The list of tools is growing for the accomplished studio musician as well as for the home producer.

What is mastering exactly?  It is the final process of preparing your material for release in the market.  It can include the use of critical listening, compression, EQ, tape processing, limiting, upsampling, and dither.  Typically a mastering chain can be but is not subject to:  D/A – EQ (corrective) – Compressor – EQ(boost)- A/D – Limiter.  Many mastering engineers will use multiple compressors instead of getting volume with just limiting.  In any case you need to be familiar with all types of techniques to begin to master your tracks.  Using a reference track can help you achieve better results.  I would discourage anyone from self mastering due to room problems, monitoring, and lack of experience, but if you are going to do it, then here are a few traps not to fall into.

1)    Cheap monitoring: Purchase the best monitors you can, but don’t forget to spend money on room treatments.  A thousand dollar pair of speakers will not cut it.  Having a proper Digital to Analog converter is also important.  It is wise to check your mix on a few different play back systems. 

2)    “Louder is better”: The biggest trap people fall into when mastering is making their music too loud.  IF IT IS LOUD IT MUST SOUND BETTER!  Since the creation of mastering plug ins, the audio quality of music has slowly been declining, mainly due to misuse of tools.  Mastering limiters should be used sparingly if you are going to use it on your stereo bus.  A good rule of thumb is -2db of gain reduction or less.  Less is more in this case. 

3)    Compression will always give you more impact in clubs:  This is not always true.  Tracks that have the dynamics crushed out of them will sound flat in clubs.  If you compress your master bus, you want to use lower ratios around 1.5-2.  Audio pancakes do not expand well on big systems.  When I compress tracks in production and mastering sessions, I use 1db of gain reduction or less in most cases.  It is true that compression applied correctly can give your music added punch and glue.  Preserve dynamics in your music.

4)    Mastering has specific settings:  Every track has a unique set of dynamics. What you used last time may or may not be the right settings for the next time.  Give attention to the details of what each track needs, and make the right adjustments accordingly.  Critical listening can be your most valuable tool.  Use the right tool when it asks for it.  A dynamic track is a better track! 

5)    All gear is the same:  There are major differences in the quality of plug ins.  If you are going to use plug ins use high quality companies like: Sonalksis, UAD, McDSP, Waves, & Sonnox.  Many cheaper plug ins will decrease stereo image and increase distortion in your material.  I’ve found that analog units sound much better on the stereo bus.  You’ll find analog equipment in most mastering engineer’s studios as well as digital tools.

6)    I’ll fix it in mastering:  Your mix needs to be ready to be mastered.  Mastering does not make thin, and poorly mixed tracks sound huge.  You need a nicely mixed track to utilize the power mastering can bring.  If you are having trouble with the master, it is usually a sure sign you need to go back and fix it in the mix!

Many dance tracks are still following a vinyl format for mastering.  You’ll find that most tunes are getting a 12-24db slope cut around 20-30hz.  Generally there is a dip in the 4-5k range, and a reduction in highs in the “air” region on the track.  Use your ears for decisions. Graphs can be helpful, but also deceiving at times.  Every track is going to be unique depending on the style of percussion, synths, and bass sounds used.  There is an art involved in the production of dance music, and some “rules” can be broken.  Here is a typical dance music curve to be familiar with:

 

 

Mastering engineers can provide a valuable service to your musical journey.  In most cases they have top of the line equipment, treated rooms, and have experience to get your music sounding the best it can.  You can focus on producing your music and let someone else who is much more qualified put the final touches on your music.  If you have decided to use a mastering engineer, the best way to prep your file for mastering is to do nothing extra to your mix.  Be sure to leave at least 3db of headroom to allow the mastering work to be done.  Do not submit material with limiting on the mix!  Compression is usually best left to the mastering engineer.  If you use it on your master bus use it lightly, and experiment with slower attacks.  You can not reverse compression in the mastering stage, so make decisions accordingly.  Generally a $200 plug in is not going to sound as good as a $3000 compressor in the right hands, so keep that in mind when preparing your final mix.  It is a good idea to give a file to your engineer without compression on the master bus.  It may sound better with no compression at all! Export a 24 bit file, do not dither to 16.  Communicate to your engineer your vision for your music.

Here is a clip of an unmastered track: Matthew Hyatt - Fresh (Unmastered)
And here is the mastered version - Matthew Hyatt - Fresh (Mastered)

I’ve been using a mastering engineer for a few years.  I’ve used about five different people and learned a few things along the way.  I’ve also sat in on a few sessions and learned what I could at various studios.  Using an engineer will help you achieve your goals of becoming a better producer.  When you decide to use a mastering engineer you start thinking differently about your music, and it usually means you are striving for higher standards.  When choosing an engineer I think it is important to hire someone who is enthusiastic about your music, and has a general interest in seeing your project succeed.  Rates range from $35 - $125 an hour/ or track.

I master a few tracks a week for various artists, and at the end of the day I still send my personal material out to be mastered.  The peace of mind knowing the track is sounding great, and ready to hit the market is worth every penny.  After working on a track for a few weeks, having a new set of ears can be just what you needed.  You’ll also discover that there is more to mastering than just an audio chain.  In my studio I use an API 2500, Cranesong HEDD, Adam Monitors, and various UAD tools.


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