On-line Mastering Studio

Computer mastering vs. Professional mastering

Why home computer mastering can’t match the sound of a real analog mastering studio.

PLEASE NOTE: There is a big difference between using plug-ins on individual channels / mixing and using plug-ins on the stereo master bus (mastering), which works with complex signal (many channels mixed into 2 stereo tracks). While a VST compressor / equalizer may sound fine on an individual channel like guitar or synthesizer, it can sound really harsh and unpleasant on the stereo master bus where the plug-in must work with very detailed complex information (often more than 20 channels mixed together). For these reasons all professional producers who mix ITB use external analog mastering studios.
With plug-ins you can get loud sound, but it will be ugly, squashed, sharp and distorted as hell. With analog mastering sound can be really loud, but pleasant to ears! This happens because home computer mastering works only with digital numbers and gain reduction / compression is done only with virtual digits, which causes unpleasant digital distortion at high volume. During real mastering we work with true analog signal and various methods of natural-sounding gain reduction: transparent analog compression, vacuum-tube saturation, tape saturation of trebles and bass, analog limiting, clipping of hi-end AD converters and precise transparent digital limiting with 16x oversampling — loud and modern, but without distortion, harshness or squashed sound.

The difference, point by point

Disaster on big systems

Small distortion, unpleasant frequencies and harshness are multiplied many times when music is reproduced on a big PA system in a club, festival or hi-end audiophile hi-fi. If computer mastering doesn’t sound good on small speakers, on a big PA it will be a disaster.

Cold and lifeless

Home computer mastering will probably be cold and boring; with analog-simulation plug-ins on the master it will be distorted and maybe terribly harsh at high RMS levels. Analog vs. digital in mastering is like driving a car in a computer game vs. driving a real sports car.

Square vs. round bass

Digitally mastered bass is usually squared, not round and fat like analog. It is almost impossible to make the same warm and fat bass in the digital domain as during real analog mastering.

Sharp transients

Digital mastering produces sharp, distorted transients if competitive (high) volume is used, but analog is much more natural and smooth.

Aliasing instead of warmth

Simulating vacuum tubes and other analog devices in a computer usually creates distortion and aliasing instead of warm sound and real color. Analog gear generates higher harmonics; in the digital domain those harmonics above 44.1 kHz are returned back as ugly digital artifacts / aliasing. This does not happen in the analog world.

Monitors aren’t enough

Your small studio monitors are good for mixing and checking frequency conflicts, but they have a flat, cold sound not suitable for mastering, and can’t reproduce the deepest sub bass. All mastering studios use detailed, transparent hi-end audiophile speakers — and several pairs — so music sounds good everywhere.

Untreated room acoustics

Without mathematically calculated and measured studio acoustics you can expect more than +/- 6 dB of frequency distortion / unreal hearing. Some diffusers and foam can help, but foam can absorb far more frequencies than desired — not ideal for mastering.

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