stereomastering

Stereomastering is the final stage in the production of stereo audio material, spanning music, film, and radio formats. It involves preparing a stereo mix released for distribution by optimizing level, tonal balance, dynamic range, and the stereo image to sound cohesive on a wide range of playback systems. It is distinct from mixing, which creates the initial balance, and from surround mastering, which optimizes for multi-channel formats.

Common tasks in stereomastering include tonal shaping with equalization, dynamic processing with gentle compression or limiting, and final loudness adjustment to meet distribution targets. Engineers also manage stereo width to preserve a stable center while maintaining appropriate left-right content. Additional techniques may include harmonic saturation to add perceived loudness and depth, as well as noise reduction or de-essing when required. Dither is applied when reducing bit depth during the final encode, to minimize quantization distortion.

Process typically follows obtaining the final mix and any reference material, performing critical listening on various playback systems, and applying a mastering chain to the stereo master. The engineer may adjust sequencing, spacing, and fades for an album, ensure mono compatibility by checking phase coherence, and verify consistency across tracks. Metadata (artist, track titles, ISRC codes) and technical parameters are embedded, and the master is delivered in appropriate formats and encodings (for CD, streaming, or other platforms).

Limitations and notes: Mastering cannot fix fundamental mixing issues; it should complement a well-balanced mix. Practices vary across platforms; loudness normalization standards differ, so engineers tailor masters to target platforms while preserving musical integrity. In some cases, stereomastering is followed by format-specific mastering (for vinyl, streaming, or film), which may require further adjustments.