It's time to master the mix.

If you have decided to outsource your work for professional mastering, forget about compressing the music at mixdown. Work your magic on the mix to make it sound great and send it over to professionals for adding the required level of compression using their superior processor. It is a good practice to record the mix with some headroom (that is you can let the sounds peak few notches below 0db) so the mastering engineering can perk up the mix on its way to the peak.

On the other hand, let's say you have an excellent mix and you don't intend to send the audio signals through a processor, then we recommend that you either add compression at mixdown or process the mixed file later.

A suitable device such as a compressor or gate or limiter can be inserted to process the signal on its way to the recording device. Each device plays its part in processing the signal. You can set a threshold for the noise levels you want to filter out from the final mix and based on this threshold, the gate will filter the noise and hiss emanating from the mixer during the brief pause before a song, for instance.

 

The limiter, true to its name, sets a ceiling on the peak levels beyond which the signal will not rise. A compressor on the other hand is employed to reduce the difference between the strong and weak parts of an audio. Compression is sort of an anticlimax because its purpose is to kill the dynamic range in the mix we have achieved so far. Though it is avoidable on many occasions, compressor is still a very popular processor for its ability to maintain constant vocal and bass guitar levels in live performances and in the studio. It gives music that extra punch and delivers radio mix-like consistency. As a result of compression, the final mix is well balanced with a uniform character commonly associated with commercial productions.

Use the compressor to polish the rough edges, but while amplifying the valleys and attenuating the peaks, be careful not to take the life out of the music. Do just as much to retain its dynamic power. The compressor is best used to thaw the awkward peaks that may ruin your best tracks. It's worthy to note here that you'll do very well by investing in a fine analog tube compressor, or even a high quality compressor plug-in.

Even though software and digital technology have made hardware mastering processors less popular, the more serious students of music as well as studios with hardware and analog mixers find that their mastering processors are more useful than compressors. The hardware mastering processors integrate the functions of compressors, mastering EQ, limiters and gates. The mastering tools can be used instead of digital compressors at mixdown to create an album where the songs have a unique, consistent flavor and well balanced outlook.

Carefully chosen hardware effects can enhance the music to heavenly delight. Narrow band mid range EQs, for instance, can be used to extend your foothold in the contemporary space and adds a tinge of freshness to your dance tracks. Similarly, you'll be amazed at the kind of kick drum effects produced by pumping up the compressor at 50-60Hz. On the whole, right hardware when used wisely, can pep up your beats several notches ahead.