One of the most common questions I hear is: “What exactly does mastering do?” Closely followed by an equally important question that doesn’t get asked enough: “What doesn’t it do?”
What Audio Mastering Can and Can’t Fix
Understanding that distinction is one of the biggest factors in whether a mastering session feels smooth and productive, or frustrating and disappointing.
What mastering actually is
At its core, mastering is about translation, consistency, and intent.
When a track arrives for mastering, I’m not trying to reinvent it. I’m listening for how well it already communicates what the artist and mixer intended — emotionally, tonally, and technically — across different playback systems.
That means answering questions like:
- Does the low end hold together outside of the studio?
- Does the vocal sit consistently at different volumes?
- Does the tonal balance make sense next to other released music?
- Does the song feel finished, or does something still pull attention away?
Mastering is the final quality control stage before your music leaves the studio environment and enters the real world.
What mastering does
Here are some things mastering is genuinely good at:
Improving translation
This is the big one. A master should hold up on headphones, car speakers, earbuds, soundbars, and real speakers — not just in one good room. Subtle EQ, dynamics control, and level decisions all work together toward that goal.
Refining balance and tone
Small, global tonal adjustments can have a big impact. A half-dB here or there might not sound dramatic in isolation, but it can make the difference between a track feeling “okay” and feeling right.
Managing dynamics intentionally
Mastering isn’t about flattening a mix — it’s about controlling dynamics so the song behaves the way it should. That can mean tightening things up, or sometimes leaving them alone.
Creating consistency across a release
For EPs and albums, mastering is where the songs start to feel like they belong together. Level, tone, spacing, and flow matter more than most people realize.
Preparing files for release
Different formats, platforms, and deliverables have different requirements. Mastering ensures your music is technically correct and artistically intact when it goes out into the world.
What mastering doesn’t do
This is where expectations sometimes get misaligned.
Mastering does not fix a bad mix.
If the vocal is buried, the kick and bass are fighting, or the arrangement itself is cluttered, those are mix or production issues. Mastering can sometimes make things less bad, but it can’t make them good.
Mastering does not replace mix decisions.
If you’re unsure whether something should be louder, darker, brighter, or more aggressive, that’s a creative choice that belongs earlier in the process. Mastering works best when those decisions are already made.
Mastering does not magically add impact.
Impact comes from arrangement, performance, and contrast. Mastering can preserve and enhance that impact — but it can’t invent it.
Mastering does not make every track sound the same.
Good mastering respects the identity of the song. If everything ends up sounding identical, something has gone wrong.
Why this distinction matters
When artists and mixers understand what mastering is responsible for — and what it isn’t — a few important things happen:
- Mixes arrive in better shape
- Feedback conversations are clearer
- Revisions are faster and more intentional
- The final result feels more satisfying for everyone
Mastering works best as a collaboration built on trust and realistic expectations.
The best mastering sessions feel boring
This might sound strange, but the best mastering sessions are rarely dramatic. They’re quiet, focused, and intentional. Most of the work happens in the listening, not the processing.
If you leave a mastering session thinking “Nothing huge happened, but everything feels better,” that’s usually a good sign.