eMastering – from recording studio to online mastering

eMastering refers to digital mastering that uses only software – either on a home PC or in a professional recording studio. Instead of analog hardware devices, plugins take over the functions of equalizers, compressors, and limiters to optimize the mix for all playback devices and streaming services.

The online mastering is the last step of audio post-production im our recording studio. The main thing here is to separate the various elements of the audio file that were previously stored in the mixing to balance the individual tracks exactly and to optimize them for playback on different playback devices. Regardless of which device the listener has at their disposal, mastering should guarantee the best possible listening experience. The term "eMastering" means that this step is carried out using electronic tools, whereby both work on a home PC and the use of software in a recording studio qualify mastering as eMastering.

Precisely because eMastering works regardless of location, it is also interesting for Swiss artists: Our Guide for Swiss artists shows when an online studio is sufficient and when a local studio is worthwhile.

From mastering to e-mastering

The Editing of audio recordings on the PC was of course not always standard in post-production - after the invention of the phonograph by Thomas A. Edison (1878) it took some time before e-mastering became established in the studios. Working with tapes, it turned out that with equalizers and dynamic tools Noise, frequency response, sound quality and volume of the tape could be balanced even more precisely and thus a first form of the mastering was possible.

eMastering is the digital express option — how it differs from classic mastering stages is explained by the Mastering Guide.

Today, it's rare for mastering studios to work purely analogue – accordingly, eMastering has become the new standard in mastering. This means that software is always used in some form. These are usually so-called plugins that use devices from the analogue Mastering as software simulate on the computer. This gives the audio engineer more options to create the optimal master and make it available online.

The aim of e-mastering, just like with classic mastering, is to balance the tonal elements of a mix, to optimize playback on all playback devices and media and to process it in such a way that the song sounds as “good” as possible on all devices. When it comes to e-mastering, it's not just frequency response, level and volume that count, but also what's still there headroom. This is needed to streaming portals to enable the conversion into other playback formats so that the song can also be played on different end devices.

Frequently asked questions about eMastering

In principle, yes: Since eMastering uses only software, you can create a master yourself with EQ, compressor, and limiter plugins. The challenge lies less in the tools themselves than in having a trained ear, a neutral listening environment, and the experience to correctly assess problems in the mix. Those who release regularly are usually better off working with an experienced mastering engineer – our guide provides an overview of the individual steps. Mastering Guide.

The sound quality doesn't depend on whether analog hardware or plugins are used, but rather on the engineer's skill and the listening environment. Modern plugins replace classic ones. analog devices The process is very precise, allowing professional eMastering to reach studio quality. The location of the processing is less important than experience, monitoring, and clear communication – the mix is ​​transmitted digitally, and the finished master is sent back.

No. Automated services like LANDR or BandLab apply fixed algorithms and presets without considering the context of your song. In contrast, eMastering involves a human making the sonic decisions, specifically addressing the genre, mix, and release goal. Our article explores the limitations of automated tools. can AI replace mastering?.

Ideally, deliver your mix without a limiter or maximizer on the master channel and with some headroom – around -6 dB is typical. headroom at the loudest point, provided the mix hasn't been artificially quieted or already heavily limited. This headroom gives the engineer room to cleanly process dynamics, frequencies, and loudness. An overdriven or heavily compressed mix is ​​difficult to recover during mastering.

Could we arouse your interest in eMastering?

In addition to the diverse options for audio processing using various plug-ins, you now benefit from the option of ordering the mastering online from the comfort of your own home and being able to fall back on the technology and know-how of experienced e-mastering engineers.

Buy eMastering!