Mastering

LANDR’s automated mastering service just got better... and it no longer requires a connection to the cloud.

This great‑sounding processor does more than make your music loud — but does it do enough?

Four‑time Grammy winner Michael Romanowski is one of very few people offering mastering services for immersive music.

Soundevice Digital’s Mastermind plug‑in aims to provide a selection of tools in a single, uncomplicated GUI so as to make mastering your mixes easy.

It’s nearly a decade since the LUFS standard for loudness measurement was defined, yet many still seem confused about what it means for music production.

This clever new plug‑in can be used by vinyl cutting engineers to help get the best results from their tools and medium — or simply as a way to learn more about vinyl mastering.

A good real‑time analyser can draw attention to what our ears miss, and with multi‑channel formats that second opinion can be invaluable.

We explore how Cubase’s multiband tools can help you master your own mixes [includes Audio Examples].

The career of LA producer and engineer Mark Linett spans everything from live mixing for Frank Zappa to engineering for Randy Newman and the Red Hot Chili Peppers. We talked to him about his studio, the gear of past and present, and his extensive work remixing and remastering classic Beach Boys records.

Antelope Audio recreate a cult mastering equaliser for their unique AFX platform.

With a record three Album of the Year nominations at this year’s Grammy Awards, mastering engineer Emily Lazar is at the forefront of her profession.

In this Video, Editor In Chief Sam Inglis explains why mastering engineers are necessary, what they can do for us, and whether we can really replace them with plug-ins!

In this final episode of the SOS Mastering Essentials series, Ian Shepherd reveals the best specification and file formats for submitting your masters — both online, and for CD and vinyl.

The processor that revolutionised home mastering is at last available in software form.

Compression in mastering is different — both the goals and the methods. Mastering engineer Ian Shepherd describes three different mastering compression techniques — how and when to use them, and why the goal is to be invisible.

How loud is loud enough, and how loud is too loud?