Before I touch an EQ, compressor, limiter, or anything else, I listen.
That might sound obvious, but it’s worth saying out loud — because the first listen tells me more than any meter ever will. In the first 30 seconds, I’m not trying to fix anything. I’m trying to understand what the record is already doing, and what it’s trying to be.
Those first impressions set the foundation for every decision that follows.
The first listen isn’t about problems
A common misconception about mastering is that it starts by identifying flaws. In reality, the first listen is about orientation, not correction.
I’m asking questions like:
- What kind of record is this?
- Where is the emotional center?
- What’s supposed to feel big, and what’s supposed to feel intimate?
- What feels intentional and what feels accidental?
If I don’t understand the intent of the mix, any technical decision I make is just a guess.
Balance comes first
The very first thing I notice is balance. Not in a fader-by-fader sense (it is mastering afterall), but in the overall relationship between elements:
- Is the vocal naturally supported by the track?
- Does the low end feel anchored or dominant?
- Do the midrange elements fight for attention or work together?
If the balance feels right, everything else gets easier. If it feels off, I’m listening closely to why.
Within seconds, I can usually tell:
- whether the track leans bright, dark, or neutral
- if the low end is controlled or just loud
- whether the top end feels open or brittle
- how the midrange is carrying the song
These aren’t things I measure right away, they’re things I feel. Good tonal balance tends to feel stable and confident. Poor balance often feels edgy, cloudy, or unsettled, even if you can’t immediately point to a frequency.
Intention matters more than perfection
One of the most important things I listen for is intention. A track doesn’t have to be perfect to be ready for mastering — but it does need to feel deliberate.
Questions like:
- Does this feel like the sound you meant?
- Are the rough edges expressive or unresolved?
- Is the energy consistent with the genre and mood?
A slightly imperfect but intentional mix is far easier to master than a technically clean mix that’s creatively unsure.
Dynamics reveal the shape of the song
Dynamics tell me how the song moves. On a first listen, I’m paying attention to:
- how the verse leads into the chorus
- whether the chorus actually lifts
- how the track behaves at different volumes
- whether the groove breathes or feels pinned down
This isn’t about loudness yet, it’s about motion. If the dynamics already tell a story, mastering becomes about preserving and refining that story, not rewriting it.
Translation clues show up early
Even without switching playback systems, the first listen gives clues about how the track will translate.
I’m listening for signs like:
- low end that feels impressive but undefined
- sibilance that jumps out even at moderate levels
- transients that feel blunted or exaggerated
- stereo width that feels exciting but unstable
These details hint at what will hold together outside the studio, and what might fall apart once the track leaves a controlled environment.
Why I don’t touch anything yet
There’s a reason I don’t reach for tools immediately. The moment you start processing, you change the reference point. That can be useful, but only after you’ve fully understood what you’re starting with.
During the first listen, I’ll often:
- take notes
- mark timestamps
- write down impressions
- identify priorities
That way, when I do start making adjustments, they’re intentional, informed, and not reactive. The first listen sets the ceiling. The initial pass also sets realistic expectations.
Every track has a natural ceiling or how far it can be pushed before something gives. The first listen helps me understand:
- how loud it wants to be
- how much control or squash it can handle
- where restraint will matter more than enhancement
Good mastering isn’t about pushing everything as far as it will go. It’s about knowing where to stop.
Listening is the work
From the outside, mastering can look like a technical process. In reality, most of the work happens before any processing begins.
Listening establishes:
- trust in the material
- respect for the mix
- clarity of direction
If the listening is solid, the technical choices tend to fall into place. If the listening is rushed, no amount of gear will save it. That’s why the first 30 seconds matter so much. Once I understand the balance, tone, and intention of a track, everything else becomes about making those things translate to the listener and not changing them.