Limiters are used in mastering to ensure that the finished audio file will never cause clipping on a listener’s system. It means that no signal is allowed to exceed the level where the threshold is set in dB. Mastering limitersĪ limiter is just a compressor with a very high ratio, typically ∞:1. This type of compressor can have different characteristics for different frequency bands, giving the engineer the ability sculpt each range in detail. Many mastering engineers use multiband compression in place of traditional mix compressors for even more precise dynamics control. Good masters maintain a delicate balance between headroom, loudness, dynamics and transients.Ĭompressors allow engineers to manage these factors and enhance the mix with punch, definition and control.
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If you’re not familiar with dynamics in music, head over to our guide to get the full explainer.īut if you just need the short version, dynamic range means the difference between the loudest and quietest moments in a signal. It’s the main tool engineers use to control the character of the mix’s dynamics.
Mastering compressionĬompression is another key component of any mastering chain. When it comes to EQ, the goal in mastering is to subtly correct any issues that stand out and bring out the best in the song. On top of that, EQ is used to sculpt the overall frequency balance of the mix, as well as tailor the response of other processors in the chain. High-pass filtering also prevents excessive low end from triggering dynamics processors like compression and limiting. In a typical mastering chain, engineers use equalization in several key points in the signal flow.įor example, It’s common to add a high-pass filter to keep ultra-low frequencies from straining the listener’s speakers. If you want to learn more about the pre-mastering process, head over to our detailed guide on the subject. That’s a good thing-less is often more when it comes to mastering! Once again, if your mix has good headroom and dynamics to start, they likely won’t have to bother with this. While it’s possible to address these problems during the mastering process, it’s always better to submit your finished files without any issues of this kind.Īfter this step, the mastering engineer might make changes to the level of the file or use subtle automation to balance out sections. I’m talking about clicks, pops or other types of artifacts that might become more noticeable after mastering. If there are any imperfections left in the stereo audio file, the mastering engineer can use audio restoration techniques to help diminish their effect.
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