Mastering is the final stage of music production whereby a multi-track project,
once mixed and consolidated into a single track, is fine-tuned
aesthetically and prepared technically for public playback on various
sound systems (sets of players and speakers), in various acoustic
environments (at home, in a car, outdoors), through various means of
signal transmission (the radio, television, Internet, etc.)
The tasks of mastering will depend on the quality of the mix and the intention of the artist. The technical procedures that are performed in every mastering session are the following:
A mastered record will have a reliable and convincing sound when played back in public alongside other recordings, will manifest a consistent and even performance without losing any of its defining qualities when reproduced on various audio systems.
Two types of mastering are available as service:
Both types of mastering sound professional although the analog type contributes to the recording a kind of softness, warmness, density - qualities that in the right combination make the sound even more pleasant, indulging, luxurious. It is important to understand that these are subtle and not crude differences which are clearly perceivable by listening to the mastered record in an acoustically benevolent room through a high-quality sound reproduction system (including headphones) yet which gradually escape the notice of the listener once played back in a noisy surrounding on low-quality consumer equipment such as narrow-range computer speakers.
* The rates specified on this page do not include the Lithuanian VAT which is 21%. All payments are expected upon the completion of the service and the delivery of the finished medium. Independent artists receive a discount of 20%.
There are two ways to ascertain the loudness of a record, objective and subjective (psychoacoustic). The calculation of objective loudness is based on the mathematical formula RMS (root mean square) which is held by sound engineers and technologists to be the best approximation to the human perception of loudness. The formula is used for the automatic determination of loudness without recourse to the human audible sense, therefore, it does not always reflect the true subjective human perception of loudness with satisfactory precision. It is a fact of life that from several records of the same objective loudness some will be perceived by listeners as louder than others. Such differences are of psycho-acoustic and not of electro-physical nature. They can be effectively managed during mastering by the engineer through a combination of trained ears, developed skills, and a specialized set of sound processing tools, digital as well as analog.
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