Compounding this situation is also the fact that many, if not most independent musicians and recording artists, believe that since compact discs have long been touted as THE media of choice for sound quality and longevity of product life span, they can simply forego the need to "master" a compact disc. This could not be further from the truth.

Now, I am not a studio or mastering engineer. Heck, I don’t even get to play one on TV. But, that being as it may, I will attempt to briefly explain the "mastering" process at different levels in order to dissipate some of the confusion surrounding it. Okay, here goes…

When all recorded studio tracks have been mixed down, before giving in to the urge to rush off to a manufacturer to get your CD pressed up in order to impress, it is first vitally important that it be "mastered." This particular "mastering" phase is where you locate a bonafied "mastering" studio facility with a specialized "mastering" engineer (they listen for different aspects and context than recording engineers). Elements such as EQ levels, sufficient bottom presence, and "high peak" compression levels, for starters.

In other words, the "mastering" engineer’s mission, should he or she choose to accept it, is to get your recording "radio ready." Getting it "radio ready" often means having it present the same punch and overall competitive clarity that major label releases contain, instead of leaving it too flat, or too "hot." You’ve probably already compared well mixed independent recordings to major label releases, only to find they often come up short in terms of sound quality. That is, more than likely, due to a lack of "mastering."

The next confusing level where the term "mastering" is used is whereby once the recording has been "mastered," the result you have is a finished "master," commonly in the form of a D.A.T. (Digital Audio Tape). In short, this is the main template, aside from the in-house media translation phase into 1630’s and other formats for output, from which final copies will be duplicated in the form of promotional and saleable product, i.e., compact discs, vinyl phonograph records so DJ’s can "scratch" their backs, and cassette tapes (do they still make cassettes?)

Also, bear in mind that an even more confusing scenario with the term "mastering" has arisen in that many artists are opting to present a "mastered" compact disc, or as is commonly referred to as a "1-off," to the manufacturer as a "master" from which to duplicate product copies.

So, you can readily see where potential confusion can lie if an understanding isn’t reached on exactly what transpires at each phase commonly referred to as "mastering." Have I, possibly, contributed even more confusion?

Editor’s Note: Kenny Love is President/CEO of Sachja Productions, an independent record label releasing Hip Hop, Rap, R&B, and Jazz recording artists. Sachja also provides national promotion for other independent labels as well. Feel free to contact Kenny at: P. O. Box 701231, Dallas, Texas 75370. You can also contact the company via telephone at (972)390-0529, via fax at (209)755-8329, or by Email at sachja@yahoo.com.