Each tune's eq might seem perfect by itself, however if you series them together, all of a sudden one song sounds too intense (or too dull ...). Changing the eq can even whatever out. Suggestion # 1: remember that any eq changes to your stereo mix affect the whole mix - if you wish to cut 3 db at 80Hz due to the fact that your mix sounds muddy, remember to check how that impacts all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Suggestion # 2: if you're unsure about an eq choice during mixdown, know that it's much easier to cut lower frequencies in mastering than to improve them, and easier to increase higher frequencies than to cut them. Compression: In mastering, this is utilized not simply to manage a mix or to add character, but likewise to "print" or send out as much level to the master as possible without clipping the signal. This can practically feel like a competition for who has the loudest cd (" my record sounded terrific until I listened on my CD carousel and Green Day was 5 db louder!"). However mastering engineers must balance level with sonic stability. Levels: Preferably, a listener can play your record and not have to get up to change the volume. This is attended to in mastering, after the record has actually been sequenced. Only then can you really know how levels associate with each other as one tune ends and the next begins.
Spacing & Crossfading.
Spacing: there are different philosophies regarding how one must approach the spaces put in between tunes on a record. Some feel the downbeat of one song should fall at the start of a brand-new bar, in the tempo of the previous tune (to continue the flow.) Others believe you ought to avoid this like the pester, since it diminishes the effect. In the end, do whatever feels right. There is no requirement. Cross-fade your songs if you like, or place 6 seconds between them. (2-4 seconds prevails in most popular, non-classical records, however it's up to you.) Final pointer: you may be inclined to master the exact same recordings that you combined, whether it is for financial factors, creative factors, or simply because you can. We highly recommend that you get someone else to master your task. The objectivity and fresh ears they give the table usually result in a more powerful, more cohesive album.
Common locations of issue for a mastering engineer are: equalization (eq), compression, levels (volume) relative from one song to Free Type Beat Hip Hop the next, and spacing between tunes. Or you may have 10 tunes blended by three different engineers in 5 various studios.
Each tune's eq may seem ideal by itself, however if you sequence them together, unexpectedly one tune sounds too brilliant (or too dull ...). Idea # 1: keep in mind that any eq modifications to your stereo mix impact the whole mix - if you want to cut 3 db at 80Hz because your mix sounds muddy, remember to inspect how that impacts all the instruments (e.g. the vocal), not simply the bass guitar and kick drum. Compression: In mastering, this is used 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.
