Mastering works on the whole song at once. It can shape tone, control dynamics, add width and set loudness — but it can't turn the vocal up without turning everything around it up too. The more a mix is “finished” before mastering, the better the master.
1. Leave headroom
Aim for peaks somewhere around −6 to −3 dBFS. You don't need to hit an exact number; you just need space for the mastering chain to work without clipping.
2. Take the limiter off your master bus
A limiter that makes your mix sound loud in the session also flattens the transients mastering needs. Bounce a version without it. Gentle bus compression you mixed into is fine — keep it if the mix depends on it.
3. Export the right file
- WAV or AIFF at the session's sample rate.
- 24-bit (or 32-bit float) — not 16-bit, and never an MP3.
- No dither needed at this stage, and no fades cut short: include the full tail.
4. Fix the mix problems now
Listen at a moderate level, then on small speakers. Common issues worth fixing in the mix rather than the master:
- A lead vocal that sits too low or too loud in the chorus.
- Kick and bass fighting in the same range.
- Harsh cymbals or sibilant “s” sounds.
- Low rumble below the bass that eats headroom.
5. Pick a reference
Choose a released song in a similar style whose sound you like. It gives the mastering a direction — and you can use it directly with reference mastering.
6. Check it on other speakers
Phones, laptops and earbuds reveal problems studio monitors hide. The speaker simulation tool gives you a quick preview. When it translates well there, you're ready to master.