10 Mastering Mistakes to Avoid
- Making a Master Excessively Loud
- Applying Processing too Aggressively
- Going against the intentions of the mixing engineer and artist
- Making a Master excessively wide
- Applying Unneeded Compression
- Causing Clipping Distortion with Improper Gain Staging
- Applying Unnecessary Dithering
- Using the Wrong Genre as a Reference
- Not Saving Signal Chain Settings or Taking Notes
- Monitoring Your Master too Loudly or Quietly
There’s no shame in admitting it, even the most seasoned and experienced mastering engineers make mistakes.
Even the most seasoned engineers make mistakes
It’s not uncommon to become so wrapped up in the mastering process, that you neglect certain precautions, or just flat out do something wrong.
There's no reason to worry, it happens to everyone - what’s important is identifying what these mistakes are, and working to remedy them in future sessions.
Identifying mistakes and remedying them is crucial to mastering music properly
With that in mind, let’s look at 10 mastering mistakes to avoid.
If you’re an artist or an engineer and you have a mix that you need mastered, send it to us here:
We’ll master your music for you, and send you a sample of it, completely free of charge.
1. Making a Master Excessively Loud
This is probably the one mistake we all know about, yet still, somehow make on a regular basis. It isn’t difficult to feel like your master isn’t good enough, and then resort to simply increasing the gain on a limiter.
Excessive limiting it usually a crutch for a subpar master.
But without a doubt, this has negative repercussions for your master. Not only are you causing a lack of dynamics and depth in your master, you’re most likely causing mild but noticeable inter-sample clipping distortion.
Notice the "True Peak" meter and the distortion that is showing.
Additionally, with the popularization of streaming services and the use of loudness normalization, your super loud master will only be turned down in the end.
So by making a loud master, you are:
- Ruining your dynamics
- Disrupting the balance between instruments by pushing everything forward
- Causing unwanted distortion
And you’re doing all of this for nothing due to how streaming affects your master.
Your master will be turned down due to loudness normalization.
Keep this in mind the next time you start pushing the gain of your limiter slightly higher, or pull down on a threshold.
If you want to learn more about loudness normalization and how it's affecting mastering, check out one of our blog posts on the topic:
It shows how loudness normalization affects mastering in detail - more particularly, how it affects how loud today’s masters are made.
2. Applying Processing too Aggressively
Another common mistake, aggressive processing can take many forms. It may mean using too much of one plugin or piece of hardware, or it may mean adding too many plugins and using redundant processing.
If you use reductant processing, you're most likely introducing unwanted forms of processing.
However aggressive processing is introduced, its a mistake best avoided when mastering.
Some examples of Aggressive Processing when mastering are:
- EQ amplifications or attenuations of greater than 2dB
- Compression greater than 4dB
- High Saturation or harmonic distortion settings
Essentially any processing that’s introduced during mastering should be done so subtly. If you find that you need severe eq curves and compression, it’s possible that a new mix is needed.
An EQ boost of dip or more than 2dB is excessive when mastering.
Another telltale sign of aggressive processing is if you use more than 10 separate forms of processing or plugins. Odds are, you can accomplish the same processing with half the number of plugins if you utilize them correctly.
It's best to take the time to learn how to use your plugins and to understand their functionality entirely prior to using them.
If you use multiple plugins to accomplish something one plugin could do, you’re employing unnecessary processing and possibly adding some effects that are “behind the scenes” more times than you intend to.
In short, keep things simple and subtle.
3. Going Against the Intentions of the Mixing Engineer and Artist
After learning how to master music, and spending countless hours understanding your gear, its effect on a signal, and learning the general science and art behind mastering, its easy to think you know what's best for a song.
Never blatantly disregard what an artist and mixing engineer have created.
But this is certainly not always the case. Although you can offer a unique perspective on a song’s production, this does not mean you should drastically alter the sound of a production to better suit your personal preferences.
Augment the sound of a mix - don't recreate its sound.
Any engineer or artist you work with has a vision that needs to be respected and upheld to the best of your ability. this doesn’t mean that you can’t augment what has been created, but it does mean that this augmentation should stay within the general guidelines of what has already been created.
Respecting your clients and your fellow engineers is just as important as the mastering itself.
If you have a specific vision for your mix, and you want it augmented during mastering, send it to us here:
We’ll master it for you and send you a free sample of it.
4. Making a Master Excessively Wide
Not only does an excessively wide master sound bad, but it can also wreak havoc on certain mediums and playback systems.
Excessively wide masters cannot playback on certain mediums.
For example, if you were to embed a wide master into a vinyl record, the end result would be a needle that couldn’t stay its groove. Ultimately this would be an unplayable master and a costly mistake for the artist that used this master for their vinyl record cutting process.
Additionally, a wide master will not playback as intended on most consumer-grade equipment. If a playback system is mono, then any signal that has been pushed into the side image will inevitably be lost and imperceivable to the listener.
Stereo imaging will be lost on mono playback systems.
That’s why its best to keep frequencies up to 135Hz mono, while only adding subtle stereo widening to your master.
Additionally keeping the frequencies of 1.5kHz to 2.5kHz more mono is helpful for creating a focused vocal. Since these are some of the more important frequencies vocals occupy, widening this range may make them sound washed out, or cause them to lose presence.
If you’re looking to create a wide master, but not one that is excessively wide - check out some of our techniques for doing this:
It's full of great information on how to create a wide master that doesn’t become excessively wide.
5. Applying Unneeded Compression
Although you might think that this mistake is identical to “Avoid Aggressive Processing,” things are a little different when it comes to compression.
Today, many mixes are already heavily compressed with they arrive for mastering. This means that any and all additional compression should be avoided, as it will only exacerbate this issue.
Many mixes already have heavy compression.
Despite this, many engineers insert a compressor plugin, or a multi-band compressor simply because it’s always a part of their signal chain. As you can imagine, this type of thinking is problematic and can definitely hinder a master’s potential.
That being said, listen critically to your mix before applying any processing - especially when that processing is compression.
Before applying additional compression, closely monitor the mix and determine if it is needed at all
Additional compression simply isn't needed more times than not.
If you do find yourself in a position where the mix you received is too compressed, try using expansion instead of additionally compression. Expanding instrument bands that the kick, snare, and vocal occupy is a great way to counteract some of the negative effects of excessive compression.
If you do find that compression is needed, try setting your compressor settings to be in time with the BPM of the song. Or you can use some specific attack and release times to avoid losing dynamics.
If you want to learn more about compression and how it relates to mastering, here is a blog post on that very topic:
Is hows how compressors can be used to compress when needed, and to remain inactive when you don’t want to compress your signal.
6. Causing Clipping Distortion with Improper Gain Staging
Unfortunately, it’s entirely possible to distort a signal without realizing it. Even if your meters aren’t showing any clipping, clipping can occur between your various inserts or forms of processing.
Notice the clipping distortion that is occurring with this plugin via the top right meter.
For example, if you increase the output of an equalizer to the point of clipping, and then follow it with another form of processing, if that next form of processing attenuates the signal in any way or back below the point of clipping, then that clipping won’t show up on your channel or master output.
If a subsequent plugin attenuates the signal, clipping distortion will not show up in the meters.
This means that to ensure clipping distortion is not occurring, you need to closely monitor the level of your signal between each processing step . If you don’t, then this clipping is entirely possible.
Notice that the same clipping distortion will not show up in the channel's meter.
This is especially true if the mix you received is already at a higher level or loudness. If you find yourself in this situation, it may be best to decrease the gain of the mix prior to adding any additional processing.
Using clip gain is a good option for lowering the loudness of a mix that was made too loud. Try this next time you receive a loud mix, and be sure to watch the outputs of your plugins.
7. Applying Unnecessary Dithering
Although dithering is a popular topic when discussing mixing and mastering, the truth is, dithering can be entirely pointless if not harmful to your master.
Dithering is very valuable at lower bit-depths.
Dithering should only be used when lowering the bit depth of your master. For example, when lowering from 24 bits to 16 bits, dithering may be needed.
But even in this example, the noise created from dithering is often higher than the noise created from quantization distortion.
The complex nature of a musical recording means that harmonic distortion caused by quantization error will become randomized.
Furthermore, if the signal is as complex as most songs, then the variable nature of the instrumentation, and the self-noise present in most recordings, will turn any minute harmonics created from quantization distortion into randomized intermodulation distortion.
In short, the white noise that is dithering is often unnecessary, as it does not have the intended effect (to lower perceivable distortion).
But the real reason dithering may be unnecessary is that 24-bit masters are becoming increasingly common. If you recorded in 24 bits, and master and distribute a 24-bit file, dithering should not be used.
Try to avoid unnecessary dithering, as you’re simply adding noise to your master.
If you want to learn more about dithering and noise shaping, check out these two blog posts:
8. Using the Wrong Genre as a Reference
If you’re used to mastering one genre over another, it may be difficult to switch styles and processing when presented with a different genre. This is increasingly problematic when you consider how much mastering can vary based on the genre.
Knowing the genre you're mastering means knowing which forms of processing to use and to what extent.
As you can imagine, rap and pop music will be mastered much differently than Jazz or Classical music. That being said, you simply can’t master one genre like another and expect it the fit within the expected framework of that genre.
Be sure to listen to the right references when mastering a genre with which you are unfamiliar.
If you plan on mastering a new genre, the best way to wrap your head around how to master for that genre is by listening to popular and acclaimed albums of the type of music.
Additionally, you can import songs into your DAW and analyze various aspects of the stereo image and frequency response to better understand how it is mastered.
Lastly, if you’re truly stumped, you can take a look at some of our blog posts on the topic - each one will detail how to master for a particular genre:
Each respective blog post will detail how to best implement processing when mastering these genres.
9. Not Saving Signal Chain Settings or Taking Notes
This is an often overlooked but incredibly important part of mastering. Saving your signal chain and taking notes is the difference between being able to recall a mastering session, and painstakingly trying to precisely recreate it.
Always save your signal chain settings.
Although this isn’t a huge issue when mastering a single song since simply saving the session will result in saving all of your settings (things aren’t so convenient with analog mastering), mastering a full album is a different story.
So say you deliver your masters to the artist and on tracks 3 and 9 they want a “brighter sound” (high-frequency boost/maybe some high order harmonic distortion), and on tracks 4 and 6 they want it to sound a little fuller (low-order harmonic distortion, maybe increase parallel compression).
If you don’t have your settings saved, performing these revisions change from an hour task to an entirely new mastering session.
Whatever settings that cannot be saved should be recorded as written notes.
Do yourself the favor of saving your settings in your DAW, and taking notes for any settings that can’t be saved.
10. Monitoring Your Master too Loudly or Quietly
If you’ve heard of the Fletcher-Munson curve or studied auditory perception, you’ve probably come across the idea of how different sound pressures and frequencies affect our perception of a sound source.
We perceive different frequencies differently, based on their amplitude.
In short, our ears are more sensitive to certain frequencies than others. This changes based on the loudness of the signal to which we’re listening.
With that said, it’s important to listen to your music at the more balanced “phon” level (roughly 70 phon). At the very least, it’s best to master at a consistent loudness, so that you’re aware of how your processing is affecting your master.
There are a couple of other reasons why monitoring at a reasonable level is so important. The first being that monitoring at a loud level is damaging to your ears and will result in hearing loss over time.
Listening to music loudly will lead to hearing loss
The other is that amplification systems cause increased distortion at lower and louder volumes. The same goes for speakers. So if you monitor at a lower volume, or at a louder volume, you’re hearing more distortion than if you monitored your master at a reasonable volume.
To recap, monitoring at a low or loud volume causes:
- Discrepancies with the perception of the master
- Potential Hearing Damage
- Increased distortion during monitoring
Conclusion
There are many mistakes that can be made during a mastering session, but hopefully, by knowing them you can avoid them more often than not.
If you do make some of these mistakes, keep in mind that it’s okay, but ideally you will master music without subjecting your master or your mastering processing to these mistakes.
When mastering, avoid unnecessary processing and other various mistakes.
In short,try to avoid unnecessary processing be it distortion, limiting, compression, equalization or even dithering. Also, attempt to set up your sessions for productivity by saving your settings, and taking adequate notes for session recall.
Also, avoid unwanted clipping distortion by closely monitoring your gain-staging and keeping an eye on all your meters, not just your channel or master outputs.
If you have a mix you need mastered, send it to us here:
We’ll master it for you and send you a sample of your master for you to review.
What mastering mistakes have you come encountered?
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Review by Joel S.
If you're looking for great mastering, Sage is where you need to be. I've been working with Sage for years - they do an amazing job and are really easy to work with.
They actually care about your project and want it to sound its best just as much as you do. I'm always excited to get a song or project back from mastering. I've tried many mastering companies, and Sage is by far the best.
If you're serious about your music, it's worth checking them out; you won't be disappointed - they make your mixes sound balanced and professional.
They also offer mixing feedback to help improve your mixes and mixing and mastering education courses to help improve your sound. Shout out to Sage Audio! you can't go wrong - like I said, if you're serious about your music, this is your studio.
Review by April K.
I've been getting my masters done by Sage Audio for the past 4 years now, and I've tried multiple places in my 15 years in the music business. Sage Audio is the only one that has given me the quality I love!
Their mastering membership is an excellent deal for anyone looking for professional mastering and full customer service. Also, I never had an issue with submitting new mix versions for remastering or asking for too many revisions - they have always been very respectful about remastering new mixes and making any adjustments I wanted. I'm staying with Sage, no need to look further! Best masters out there!
Review by Justin G.
Sage Audio is by far the best audio engineering company I've found. I've been with them for 8 years, and it's clear that they set the bar high in regard to mastering services. Their online platform makes it easy to upload tracks and communicate directly with your own dedicated mastering engineer, and their customer service is excellent.
Overall, the sound achieved by Sage Audio engineers is awesome. Their mastering brings out the best in each track - improving clarity, depth, and impact - and they focus on crafting personalized masters that are specific to your needs.
Another thing that sets Sage Audio apart from other mastering services is that the mastering is actually done with your dedicated mastering engineer and not some sort of AI software, and you get full customer service and feedback on your mixes too.
Their commitment to delivering top-tier mastering while maintaining consistent communication shows how much they care about their clients' music. For anyone looking for a personalized online mastering that combines top-level quality with excellent customer service, look no further than Sage Audio.
Review by James T.
The engineers at Sage Audio could not have made my first commercial audio experience any better! Every time I emailed to get a question answered, I worked with the same person consistently.
They know what they are doing; after listening to my masters on numerous systems, I heard my music in a whole new light. My bass and kick were tighter, not muddy, and hit with the "grit" that I intended. My mids and highs were clear, vibrant, and presented well on all stereos and devices.
I could have never achieved this level of quality without their diligent minds and professional know-how! If you are looking to get your project up to a commercial level while meeting a budget, Sage Audio is the place to go!
Review by Rebecca D.
Sage Audio is by far the best mastering service! They are the most professional, kind, and loyal people. Every song they mastered was spot on!
For artists looking to have their music mastered, they have an awesome and affordable mastering membership and are dedicated to making every mix sound like a professional master. Thank you, Sage Audio, for transforming my music!
Review by Daniel S.
The last ten years of my audio mixing career have been plagued by frustration, self-doubt, and compulsive shopping for magic game-changing plugins that can fix my poor mixes... guess what... it was all wasted time and money; I was shooting in the dark.
Until now.
I had heard about Sage Audio a long time ago, but at that time, their pricing seemed too expensive - how wrong I was.
Firstly, there is no substitute for hard work; you must do your part; what this service gave me was perspective - what's different about this master from my own? why? what am I missing? how can I improve my final mixdown in order to get the best possible master?
The included courses are really useful and well explained, but to me, the real power is the community of engineers offering their feedback; there's nothing like a second set of ears, or a lot of sets of ears! Getting other engineers' advice is priceless, and fixing common problems suddenly became very simple.
The best part is that I have made a bunch of mixes on my own now and am starting to get incredibly good responses - my confidence is up, with no additional plugins, no new DAW, not even new monitors.
I've been a Sage Audio member for about 9 months now, and all services are excellent. The 1-on-1 mixing feedback is incredibly helpful, and the professional community is way more active than I could have imagined. I'll be here for the long haul. So, if you're ready to take your music to the next level and change a lot of misconceptions, this is your place!
Review by Thomas E.
I am a musician and songwriter with decent recording skills, but I could never get my final mixes mastered to where the EQ, volume, and clarity sounded good on all playback systems without distortion.
I did extensive research on mastering and tried expensive studio headphones, but I never quite "mastered" mastering. It was very frustrating and took way too much time away from my music.
Then I found Sage Audio, and it sounded like just the service I needed at a reasonable price, so I joined their membership.
It was a game-changing decision. They always respond quickly and are focused on pleasing their customers. They mastered several of my songs, and they all came out perfect.
One of them took three takes because I had to change some levels and panning, but each time, they said, "No problem, we want you to be 100% happy with the final master."
They even asked for ways to improve their service, and they have a unique service where you can upload your mixes and receive feedback directly from them for improvement. I also found in the community, there are great musicians, singers, and songwriters to collaborate with for future projects.
In summary, Sage Audio has saved me a lot of time and provided great masters for my songs, way better than I could have ever done! I give them my highest recommendation.
Review by Frank B.
I've been using Sage Audio for a while now and have been very pleased with their professionalism and quality of work!
I'm NOT new to the audio production world and have been mixing and self-mastering for over a decade. I've used Grammy-winning mastering engineers as well as online AI-driven mastering services, so I know the full range of mastering services available to artists and their producers.
What sets Sage apart, IMO, and, in my experience, is that they are very customer-centric and will do almost anything to make the customer happy with their work. An example is a recent master I wasn't 100% happy with because it was too compressed for Classical material. They jumped right on it, giving me another more gently compressed master, which I'm delighted with. This was a NO EXTRA CHARGE. I know from experience that this isn't the norm in this industry, where egos prevail.
An example of Sage's superior work is when a client I'm working with wanted proof that it was better than a well-known, low-cost AI-driven mastering service. While my instructions to both Sage and the online service were close, only Sage had a human to interpret some of the instructions. As a result, the Sage master was considerably LOUDER and had more HEADROOM to boot. You can't ask for much more for a Pop song.
In summary, I'd recommend Sage to anyone looking for professional mastering for their upcoming release.
Give them a shot. I'm sure you'll be pleased.
Review by Dan Y.
Sage Audio has been a lifesaver for me. Mastering was my weakest point, and I only wish I could've found them sooner. I have used their services for the last 6 months and have also recommended them to several of my musician friends. Every track I send comes back sounding brilliant.
I once experimented by mastering one of my songs by myself, by another leading mastering studio, and also by Sage Audio. Sage's master was hands-down the best: clear, loud, yet dynamic, and the overall sound was smooth. I can say with 100% confidence Sage Audio is the best mastering service around.
It's also a pleasure connecting with their team on a personal level; they are very attentive to details and respond fast.
Review by Irene F.
I found Sage Audio when I was searching for a company that could master my original songs. My initial email was responded to in less than ten minutes. I explained my situation, then created an account and uploaded my mix for mastering.
I let my engineer know what was bothering me in the song and what I would like it to sound like. In a short time, he sent me a notification email to download the master and asked if it was to my liking.
On first listen, it blew me away, as it contained everything I had asked for, and the sound was vibrant, clear, and, quite frankly, perfect. I've been with Sage Audio ever since - they're so easy to work with, friendly, eager to help, and highly professional. I would recommend them to anyone.
Review by Aaron C.
I first used Sage audio 3 years ago to get an album mastered. I hadn't used an outside service for mastering before, so I didn't know exactly what to expect, but I had learned a lot from the Sage Audio YouTube channel and liked the clear, concise way the videos explained various audio principles, so I felt comfortable using their services.
Not only did the masters sound amazing (dynamic, but still as loud as I wanted), but the engineer answered all of my questions and responded to my emails almost immediately.
To add to that, considering all the services you get with the membership is an incredible deal - it Includes mastering, mixing feedback, courses, and community. It's everything you need, and their customer service is top-notch.
As good as their YouTube videos are, I knew this would be a fantastic resource; as a college professor myself, I recognize excellent instruction, and Sage has a knack for breaking down complex processes and demonstrating how plugins work in concise bursts that never overwhelm the learner.
More importantly, you will come to understand when to use the tools in your arsenal and why to do so. You, thus, are learning how to ask better questions of the mastering engineers that you have access to through your membership, and ultimately, you are being empowered to become an engineer yourself!
Review by John G.
I started using Sage Audio to master my songs about three to four years ago - I wish I had found them earlier. Their mastering makes my mixes sound like professional songs, and they're a delight to work with.
Also, they have a very active community of musicians, producers, and engineers, along with mixing and mastering courses - which have provided me with so much useful information. On top of that, the mixing feedback is excellent, and they continually provide thoughtful suggestions, which I've found invaluable for improving my mixes. It's worth checking them out - you will not be disappointed.
Review by Brandon T.
I had Sage Audio master my last 3 albums, and I plan to use them for my next release too. They do an exceptional job of creating balance and clarity for each project, and they are so friendly and helpful when it comes to answering questions and offering suggestions.
Their experience is invaluable, and they have truly insightful feedback when it comes to mixing and mastering. I have tried other companies in the past and came back to Sage to get that professionally polished sound every time.
Review by Ben V.
A few months ago, a friend of mine recommended I try Sage Audio for my final master's. Being a mix engineer myself, I was hesitant at first due to the fact that in the past, when using online mastering, I found that no engineer would care for the track as much as I would.
Knowing the basic rule that you always want to have another set of ears to master anything you've mixed, I realized I had hit a plateau in how far I could take my final master. To my surprise, Sage and the team took my master's to a level I could not reach, both dynamically and sonically.
I'm a full-time artist who is constantly recording, releasing, and traveling. The burden that the Sage team has taken off my shoulders by being a trustworthy mastering service is tremendous.
They have provided me with quick turnarounds while out of the country to meet deadlines for releases and are understanding & receptive when I request changes after hearing a master, even going as far as to follow up with me, confirming that I am 100% happy with the final master, quoting, "I'm not happy unless you're happy."
Another benefit to Sage Audio is their library of mixing and mastering tutorials. Any good sound engineer knows that there are a million ways to reach a rich, dynamic final mix or mastering and that you're never done learning how to engineer. Sage's courses offer a great refresher on fundamentals and a clear understanding of complex techniques to help push you as an engineer.
Cheers Sage, thanks for the excellent service!
Review by Charlie E.
My writing partner and I have recorded and mixed 2 albums and a few singles, the first 2 albums we did were mastered by a different company. The masters were ok, but from that experience, we developed a better and more critical understanding of the mastering process.
Upon preparing to have our 3th album mastered, we did some research and exploration for other mastering options and found Sage Audio - which is where we had our latest album mastered.
We were both very much impressed with the work, the communication, and the willingness to create the exact sound we wanted for the album. We definitely heard a difference in the mastering - Sage Audio masters are clean, clear, and professional.
On top of that, we really enjoyed receiving mixing feedback, which was really helpful for making adjustments to bring the most out of our mixes before sending for mastering. For anyone seeking true audio professionals, I recommend Sage Audio!
Review by Sam V.
Sage Audio mastering engineers are the best I've ever worked with! I've been an Artist, Songwriter & Producer for over 12 years, and believe me, over the years, I've worked with several studios and countless engineers. But since I connected with Sage Audio, those days are over. I took a chance on something new - sent my first mix to see how it would go, and they didn't waste any time lol, they responded the very next day, and the master I got back far exceeded my expectations.
The level of quality and attention to detail was impressive. It was everything & more than what I hoped for, and now I will never trust my mixes in any other hands. They've quickly become my number 1 go-to-guys for mastering, hands down.
Not to mention, they also give you in-depth mixing feedback to help you improve your mixes before sending them for mastering. You can't go wrong with Sage Audio. These guys definitely deserve all the credit in the world. I would strongly recommend them to anyone out there looking for solid professionals to polish your mix. I can personally promise you, Sage Audio will deliver every time!
Review by Ryan B.
I've been using Sage Audio for mastering my tracks over the past year and a half, and they've been great on every front.
If I need a track mastered within a week, they usually get back to me with a high-quality finished master within a few days, and the cost is negligible compared to what some other studios are charging.
They also have an active community, and their mixing feedback option is super helpful; their suggestions are specific, revealing, and accurate.
I highly recommend them if you're a musician, producer, or mixing engineer who needs that last bit of polish before you release. They're worth every penny.
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