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1. Recording on the Aw2816

Mastering

Once you have completed the mixdown, you will per-

form mastering before writing the song to a CD-R

disc. Mastering is the process of making overall

adjustments to the song mixed to a stereo track. It may

seem as though the song itself is essentially complete

when you ﬁnish the mixdown. However, this does not

guarantee that it will sound right when played back

on a CD player. For example, it may be that the over-

all volume is low, so that you will have to turn up the

volume further than when listening to other songs on

CD, or the overall tone may be mufﬂed, or there may

be too much low-range sound so that the speaker dis-

torts when you turn the volume up a bit.

Instead of simply writing the mix to CD-R, you per-

form the mastering process to adjust the overall bal-

ance so that the song will be more "listenable."

Although this is sometimes thought of as consisting of

"ﬁne adjustments," it is actually a very important step

that determines the overall quality of the sound.

Normally, EQ and compressor are used to adjust the

sound during mastering. Professional engineers some-

times add a tiny amount of reverb to the overall sound

to create more depth, or pass the digitally-recorded

sound through an analog device to give it the warmth

characteristic of analog processing.

When multiple songs are recorded on one CD, signiﬁ-

cant differences in volume and tonal character

between songs can make it unpleasant to listen to the

CD. Thus, the mastering process also includes adjust-

ments to the volume of each song, and determines the

spacing between songs.

In this section we are going to explain the process

from making mastering settings through writing the

song to a CD-R disc to make a CD that can be played

back on a conventional CD player.

Accurate monitoring is essential!

Although this can also be said for the mixing process,

a good monitoring environment is essential for mas-

tering. This is because not only the amp and speakers,

but also the room and everything in it will affect the

sound. If we wanted to be more particular, a great

deal more could be said about this. If you use differ-

ent equipment and a different room for monitoring,

there will obviously be differences in the sound you

that hear. For example in your private home studio,

you might feel that the bass is weak, and boost the

low range, but may be surprised to ﬁnd that you hear

nothing but bass when you play the song back at

someone else's home.

The ideal mastering environment is one with as little

reverberation as possible, and in which the recorded

sound and effects are reproduced as faithfully as pos-

sible (the technical term is "with a ﬂat frequency

response"). However in reality, only real professionals

are probably able to do their mastering in a large

recording studio.

Mastering

So how can you create the best sound during master-

ing? Through their experience in mixing down and

mastering at a particular studio, professional engi-

neers have gained a sense of how the music heard in

that studio will sound on an average stereo system or

"boom box." In other words, the best mastering is that

which results in a song that sounds good when played

back on any system. You should make an effort to lis-

ten to your song in a wide variety of locations. Listen

to it on expensive stereo systems, cheap cassette play-

ers, portable audio devices, on a car stereo, ...and you

will begin to see where your mastering is excessive

and where it is lacking.

Setting master EQ and dynamics

It is not necessarily a rule that you must use EQ and

compression when mastering. In this example, we

will apply only a compressor to adjust the sound, and

will not apply EQ.

Press the STEREO channel [SEL] key, and use the

MIXER section [DYN] key to access the dynamics

parameters. On the AW2816, you can adjust the mas-

ter EQ and dynamics settings while listening to their

effect on the overall sound.

While you are mastering you may feel like returning

to the mixdown and changing something. For normal

recording it is not possible to redo the mixdown once

you are in the mastering process, but on the AW2816

you can recall scene memories and automix settings

to go back and forth between the mixdown and mas-

tering processes whenever you like.

In general, mastering is a matter of "ﬁne adjustments,"

as mentioned earlier, so if your mixdown has been

brought to a high level of completion, you will have

less to do during mastering. If mastering causes an

abrupt change in the sound, you may want to recon-

sider the mixdown.

Equalizer (EQ)

Mastering EQ is used sparingly, in cases where you

want to adjust the overall outline of the sound after it

has been mixed, or if the low range just doesn't sound

quite sufﬁcient. Conversely, you might cut the appro-

priate frequency range a bit to make the sound

cleaner if the low range was excessive, or if too much

sound ended up in the mid-range.

In this example we will not be applying EQ to the

demo song, but we recommend that you adjust the

parameters while the song plays back, and notice how

the sound changes when adjust each frequency

region.

Tutorial