PHOTO : PXHERE
MASTERING DEMYSTIFIED
In Conversation with Accomplished Mastering Engineers
BY MANUS HOPKINS
Those involved in recorded music in any capacity probably know that mastering is the step between mixing and distributing music . But what is mastering , really ? It ’ s not so cut-and-dry as other related processes , and it ’ s arguably the most misunderstood step in the music creation process , with common misconceptions about how mastering actually works and what it really does . To help clear things up for those who may have some confusion surrounding this crucial practice , Professional Sound spoke with three accomplished mastering engineers about their process , tools , and what it is that they actually do to those mixes you ’ ve sent them . Read on to find out the truth behind mastering from Lacquer Channel Mastering ’ s Mariana Hutten , Coast Mastering ’ s Michael Romanowski , and Mojito Mastering ’ s Reuben Ghose .
These interviews have been edited for length and clarity .
PS : In your words , what is it that a mastering engineer does ( or doesn ’ t do )? What are the common misconceptions by young artists , recording engineers , or producers ?
Michael Romanowski : What a mastering engineer does , as with most things , completely depends . It depends on the artist , depends on the circumstances , but then depends on intent , depends on what ’ s coming in , depends on where things are going . So , what a mastering engineer does , as a grand overview , as I see it , is the last step of the artistic process and the first step of the distribution process .
So , as far as the last step of the artistic process , it ’ s how does it sound ? How does it present itself ? How does the music , whether it ’ s a single , an album , a box set , a restoration project — how does it present itself when it comes to me ? And how does it , could it , or should it present itself when it goes out to the real world ? In that listening aspect , being in a tuned environment , my job is to listen . What is the balance between all these things to me ? How is it going to be translatable to somebody on headphones , somebody on a soundbar , or a car , or speakers , or an LP being played back , or highres files or whatever it happens to be . And so , my job is to listen to it and to determine what about it needs to be adjusted from a presentation standpoint , and only a presentation standpoint , not aesthetic or other choices . It ’ s really the last ability to listen to and hear if something is wrong or needs to be adjusted . Again , presentation aspects , not aesthetic choices . If somebody wants to mix a trombone really loud , that ’ s their choice . If that trombone is in stereo and out of phase , that ’ s going to cause other problems . It ’ s those things that I notice ; it ’ s not what ’ s presented but how it ’ s presented .
One common misconception of young artists is that mastering makes it loud and bright — totally wrong . Every aspect has nothing to do with that . A lot of times that ’ s the result , because there ’ s getting ready for manufacturing and distribution , and adhering to certain standards for levels and presentation of the volumes and things like that .
34 PROFESSIONAL SOUND