It's definitely a mindset. In fact, these are my "Twitter" definitions of both: -Mixing is about bringing all the elements together to form a cohesive whole. -Mastering is about optimizing the final approved mixes for your intended medium. To unpack this a bit more, mixing is when you think about how these parts sound to make a greater whole. One thing to consider is how do I make each part distinct from each other (I hate using the word "separation" because it's inherently antithetical to what mixing is). In mastering, you should be working with a mix that everyone is satisfied with. In so doing, it's less about making some creative decisions and it's much more technical to where you try to make sure it sounds its best on whatever medium you decide to use. This is especially important if you intend to put this on a vinyl record as it has limitations to consider. I've also equated this with writing. So if recording is the actual drafting, then mixing is proofreading and mastering is typesetting or getting it ready for actual publishing. In that sense, mastering is less about adding more creative elements and more about optimizing what was already there. So I do master my own material. I only do it when I am completely done with tracking and I got the mix to where I know I will like it. I use WaveLab instead of Cubase to make it clear that I am thinking about mastering. And because of this, I am working with the stereo mixdowns, not the actual session files. I think about loudness, for sure. But when it's a multi-track release like an EP or an album, I also think about overall cohesion and making sure they all sound good together. This is actually where I also do the equivalent of stereo bus processing, but instead it is applied to the clip in my mastering session. Now, if I hear an issue that stems from the mix itself, then I go back to the session file, address the issue there, replace the mixdown and then continue from there. But all in all, mastering is much much less about being creative and more about making the best sounding record I can with what was already created. I do consider other tools "designed for mastering". For instance, I mentioned before about using the Softube take on the Weiss DS1-MK3 and that was because it was designed for mastering. I could also consider the Manley tools, either the Massive Passive for EQ or the Variable Mu for compression. The character that I want should be there already in the mix and mastering is really about ensuring it is brought out in the best way. So things like reverb should already be there in the mix, not in the master. I know that's a lot and there's a lot more to say for sure. But this is how I think about it. Thus, you are not alone in thinking about these things as well =] Cheers =]
I agree with you, the problem with mastering your own mix is song fatigue. A great mastering engineer has fresh ears to be critical. If you produced and mixed your music yourself it’s very hard to listen with a different mindset. Something that is called the engineering brain and the listening brain. I rather have a mastering engineer master my mixes than doing it myself. The feedback from the mastering engineer learns me to solve problems in the mix, so my mixes get better and the music gets a double check on quality before being released.
@@Studio22mix I am more than aware of that shortcoming and there are ways to compensate for it if you decide to do it on your own. I’m something of a control freak when it comes to my own material and I have to trust the individual doing it if I were to hand it off. But this is my choice and I accept the consequences of that choice, good and bad =]
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Awesome, would have have been cool to hear the original vs the everything on version 😄
Sam, thanks for another great video! I always learn so much from them.
Glad to hear it!
It's definitely a mindset. In fact, these are my "Twitter" definitions of both:
-Mixing is about bringing all the elements together to form a cohesive whole.
-Mastering is about optimizing the final approved mixes for your intended medium.
To unpack this a bit more, mixing is when you think about how these parts sound to make a greater whole. One thing to consider is how do I make each part distinct from each other (I hate using the word "separation" because it's inherently antithetical to what mixing is). In mastering, you should be working with a mix that everyone is satisfied with. In so doing, it's less about making some creative decisions and it's much more technical to where you try to make sure it sounds its best on whatever medium you decide to use. This is especially important if you intend to put this on a vinyl record as it has limitations to consider.
I've also equated this with writing. So if recording is the actual drafting, then mixing is proofreading and mastering is typesetting or getting it ready for actual publishing. In that sense, mastering is less about adding more creative elements and more about optimizing what was already there.
So I do master my own material. I only do it when I am completely done with tracking and I got the mix to where I know I will like it. I use WaveLab instead of Cubase to make it clear that I am thinking about mastering. And because of this, I am working with the stereo mixdowns, not the actual session files. I think about loudness, for sure. But when it's a multi-track release like an EP or an album, I also think about overall cohesion and making sure they all sound good together. This is actually where I also do the equivalent of stereo bus processing, but instead it is applied to the clip in my mastering session. Now, if I hear an issue that stems from the mix itself, then I go back to the session file, address the issue there, replace the mixdown and then continue from there. But all in all, mastering is much much less about being creative and more about making the best sounding record I can with what was already created. I do consider other tools "designed for mastering". For instance, I mentioned before about using the Softube take on the Weiss DS1-MK3 and that was because it was designed for mastering. I could also consider the Manley tools, either the Massive Passive for EQ or the Variable Mu for compression. The character that I want should be there already in the mix and mastering is really about ensuring it is brought out in the best way. So things like reverb should already be there in the mix, not in the master.
I know that's a lot and there's a lot more to say for sure. But this is how I think about it. Thus, you are not alone in thinking about these things as well =]
Cheers =]
I agree with you, the problem with mastering your own mix is song fatigue. A great mastering engineer has fresh ears to be critical. If you produced and mixed your music yourself it’s very hard to listen with a different mindset. Something that is called the engineering brain and the listening brain. I rather have a mastering engineer master my mixes than doing it myself. The feedback from the mastering engineer learns me to solve problems in the mix, so my mixes get better and the music gets a double check on quality before being released.
@@Studio22mix I am more than aware of that shortcoming and there are ways to compensate for it if you decide to do it on your own. I’m something of a control freak when it comes to my own material and I have to trust the individual doing it if I were to hand it off. But this is my choice and I accept the consequences of that choice, good and bad =]
you nare my Master Yoda
Thanks a lot for the video
Thanks for checking it out 👍