Mastering template example

[crimsonwarlock]

On request, here's a short writ-up on my mastering template. My mastering setup is rather extensive, but I only use parts of it for any specific track. The predefined template just has several options to choose from (and compare) for each mastering step. There are just a few actual steps, that are visually documented in the template, as you can see in the picture.

Firstly, I want to make clear what I perceive as mastering. I mainly distribute my music among friends and family, mostly as MP3 files and sometimes on a burned CD. So, I'm not mastering for specific media, like vinyl. As I stated in another topic here on the forum, I have three templates for three main stages in my workflow: Tracking, where I try to make every instrument/sound be as good as it could be for the composition. Mixing, where I try to make all the individual parts sound as good as possible together. And finally mastering, where I try to make the stereo mix sound as good as possible, and manage the final signal levels while I'm at it.

In the left rack I have all the specific routing and monitor correction. Below that, an A/B switch to switch between pre/post mastering chain. Next, there are some measurement tools. The level metering shows the levels for the mastering track or any of the reference tracks when selected. The Optic analyzer lets me compare the mastering spectrum with any of the reference tracks. At the bottom are the actual audio tracks. All the routing of this bypasses the SSL mixer, the audio tracks are patched direct out.

The right rack has my mastering chain. The main steps/sections are divided with Jigg's TMA divider panels. All modules are switched to bypass by default. I work from top to bottom, only using things that are needed for the specific track (which might be only maximizing). Most of the stuff is there just in case I need it. After each module that gets activated, I gain-match the output to be able to do A/B testing of the result. The only RE that doesn't have an output gain is Sugar-Q, reason why there is a Re-Gain after it.

Some specific things: Phatsat and Fat50 are my current favorite saturation FX, but I use one or the other, not both together. There is also a polymodular audio splitter and a passive hi-lo filter, which are there only to split and filter a sidechain signal for the McDSP compressors after that, as they have no internal sidechain filter.

I'm happy to share the template if anyone wants it. But remember, in that case you need to replace/remove some specific stuff that you will not have, like my studio-specific combinators

Right-click on the image to open it in a larger resolution.

2023-07-16 16_07_45-Document 2.jpg (889.55 KiB) Viewed 409 times

[robussc]

Thanks for sharing this, though I feel like a rookie pilot staring at the cockpit of a 747! Perhaps one day I'll understand the process enough to want to supplement in some of these ways. My mastering chain is tiny in comparison.