- 第 1 页 -
福利，How To Master A Song教材纯手翻
raner
什么是Mastering（没做过母带 ，Mastering 不太明白具体是什么意思，应该就是母带处理的意思）
A wise man once said,
一个聪明人曾经说过
“You can’t win a game that you don’t understand”
你无法赢得一场你不了解的比赛
Imagine trying to play a sport that you don’t know the rules to?
想象一下，试图去参与一项你不知道规则的运动
A little difficult!
有点小难哈？！
Understanding is the first step, 理解是第一步，it doesn’t matter how much skill a person may have, 跟有没有太多技巧没有关系，if they don’t know the rules they can’t win the game. 如果他们不知道规则，就无法赢得比赛。
So I want to give you an overview of what mastering is and what exactly we’re trying to achieve here.所以，我想给你们一个什么是母带的概括得观点，而且我们在这里所要达到的准确目标。
Don’t worry, I’m not going to get all technical on you and use a bunch of jargon to try and make me sound clever, there’s enough thick reference books like that out there if you want to dig deeper (and die of boredom).放心，我不会跟全部跟你们用一些很技术的东西，用一大串术语让我看起来很聪明，已经有很多这样的参考书了，如果你想了解的更深，你们可以去找来看看.（并且死于无聊）
Part 1:The Definition Of Mastering. Mastering的定义（母带这个概念完全无法解释master,之后我就用master(mastering） 代替母带）
After scouring the net for a good definition of what mastering actually is, 当我在网上搜索关于mastering的定义的时候，I was very surprised that there really wasn’t a good one我惊讶的发现，没有一个是准确的, at least not one that really defined it in full and in a modern sense.至少，没有什么能完全的，现代化得定义master。So I gave it a lot of thought and this is what I came up with, 所以我在这里将会给你们一些我自己的想法。
“Mastering is the process of finalizing a track or album by both enhancing it and preparing it for final release” Mastering 是为了加强一个音轨，或者专辑，而且为最后的发行做准备的最后过程。
The way music is made and released is changing all the time.因为音乐的创作和发行一直在随着时间变化. Mastering was once the process of transferring the audio recording onto a wax master (to be honest, it was a little before my time). Mastering 曾经是为了把一个录音转换成一个原始 master的过程（老实说，比我还要老一点.）
Now it can be as simple as a couple of plugins on your mix bus.现在，它可以仅仅是几个插在你mix轨bus上的插件.
The important part to remember is that it’s the final link in the chain. 最需要被记住的是它在最后是有相互联系的。Its the last set of processes before a track is released to the world and that’s why it’s so important. 它是在一个音轨被发行到全世界上的最后一部，所以非常重要。
It’s not going to change the song, how well / badly it was recorded and played, or whether the lead singer could sing or not, but it will make the most of it.它不会改变这首歌录的，演奏的好与坏，或者是否这名歌手是否唱的好，但是，它将充分的发挥一首歌.
Simply put, a great master won’t make a poor track great, but a poor master can somewhat ruin an otherwise great track.简单的说，一个伟大的master 不会把一首烂歌变的很好，但是很烂的master可以在某种程度上破坏一首好的音轨。
Let me get a little more specific, I’ve broken down the purpose of mastering into 5 key areas...让我说的更细节点，我把mastering的目的分成了五个关键区域。
The 5 Purposes Of Mastering .
Mastering的5个目的.
1. The Final Check
1. 最终的检查
Mastering is the final chance we have to make sure the track or album is just as we want it, –or just as the client / artist wants it. Mastering 是我们确认这张专辑或音轨是否符合我们的意思的最后机会.
If you’re doing your own mastering,如果你在做你自己的mastering， it’s a good idea to get some objective ears in there, 最好有一只客观的耳朵，someone who hasn’t heard the track a million times一名没有已经听过这条音轨无数遍的人. It’s amazing how we lose perspective after listening to something over and over again, often it’s something really obvious. 我们在一遍又一遍的听一些东西之后会惊人的失去一些观点，通常是一些很明显的东西。
So find someone with a bit of a musical background to come listen in and give you their first impressions. 所以应该找到一个具有一点音乐背景的人来听听，然后给你反馈一些他们的第一印象。
A little word of advice, just something I’ve noticed when it comes to this; 一些建议。
Don’t ask someone ‘What do you think is wrong with this?’ 不要去问别人“你觉得这有什么不对的？”
It sets you up for failure because they will LOOK for something wrong, and often come up with the most random things that are completely irrelevant –Because they don’t want to seem stupid and miss something.这会让你开始失败，因为他们将会去寻找一些错误，然后想出一些完全相关的东西，因为他们不想看起来像个傻逼.
So instead, rather just tell them ‘this is the track, take a listen and let me know what you think’.所以，相反的，你只需跟他们说“听听这条音轨吧，然后让我知道你们的想法”
Also, always keep in mind that NO ONE is truly objective, so just take all comments with a pinch of salt.而且，请一直记住，没有人是完全客观的，所以不要把所有评论都太当回事。
2. Consistency 一致性
consistency is very important because there is such a wide variety of systems the track could be played on that we have to make sure that it’s going to sound as consistent to the artist’s vision as possible. 一致性非常重要因为现在有一个非常广泛的可以播放音轨的系统,所有我们要确保它听起来要与艺人的观点一致。
Say for example the bass line in a song is really important, now if someone plays the track back on their laptop are they going to be able to hear that bass line? 举个例子， 一首歌的bass line 非常重要， 如果现在某个人在他们的笔记本后面播放这条音频，他们能听见bass line么？
Probably not.也许不能。
This is what we need to take into consideration.这就是我们需要考虑的事.
Now of course there’s only so much we can do and it’s much better if this has been thought of in the recording and mix phase,当然现在，我们只能做这么多，如果这件事可以在录音和混音阶段就被考虑进去，将会更好。 but ultimately it all comes down to the mastering to do whatever it takes to make the track as good as possible.但是最终，它可全部归因于mastering, 尽可能的把音频做好.
Consistency could also apply to level consistency –is it really soft in some places and then really loud in others so people would have to keep changing the volume?一致性同样可以被看为level consistency—— 是否某些地方听起来比较软，其他地方又比较大声，所以人们得一直调节音量？
It also needs to be consistent in terms of the frequency spectrum so that it doesn’t blow the doors off of someone’s car. Rather than go into a complex explanation of this, just compare you track to other commercial tracks, you’ll notice that they all have a SIMILAR frequency range. 它同样需要在频率谱上保持一致，否则它可以把某个人的车门都绷掉. 简单的说，只需拿你的音频和其他市面的音频比较一下， 你就会发现它们全都有一个相似的评论范围。
You can also look at this visually on a spectrum analyzer, however, master with your ears not your eyes.你也可以在波频分析器上看一下，但是，是用你的耳朵做master 而不是眼睛。
3. Enhancement 增强
This applies to anything that can be done to the track to make it sound better than it already does and really bring out the most in it. 这可以适用于任何可以让音频听起来更好的东西.
This could be anything from using a stereo widener to make the track sound bigger, it could be driving the track through an analog desk to get some of those qualities, or it could be compressing it to make it sound more even overall. 可以是任何方法，从运用立体声扩展器来让音频听起来有更大声场，也可以，也可以通过模拟台（调音台）来提升音频，或者可以通过压缩来让音频在整体上听起来更加平均.
Most artists / record companies want their record to be as loud as possible because they think that this will give the track an edge.许多艺人／唱片公司都想让他们的唱片尽可能的声音大，因为它们认为这样可以给音频带来一个优势。
If you think louder is better, then it’s better.如果你觉得大声好，那就好吧.
There really are no rules, it all comes down to what you or the artist wants.. but keep in mind that it’s the FANS who are going to BUY the record so they are really the ultimate ‘customer’.这没有一个真正的规则，这完全取决于你或者艺人的想法。。。但是想象那些会去买唱片的fans,它们才是真正的“顾客”。
下一节转八楼
[ 本帖最后由 cqyyh1234 于 12-12-1 15:12 编辑 ]
- 作品名称：How To Master A Song
- 音乐风格：流行
- 作品属性：原创作品
- 我做的事情：作词
什么是Mastering（没做过母带 ，Mastering 不太明白具体是什么意思，应该就是母带处理的意思）
A wise man once said,
一个聪明人曾经说过
“You can’t win a game that you don’t understand”
你无法赢得一场你不了解的比赛
Imagine trying to play a sport that you don’t know the rules to?
想象一下，试图去参与一项你不知道规则的运动
A little difficult!
有点小难哈？！
Understanding is the first step, 理解是第一步，it doesn’t matter how much skill a person may have, 跟有没有太多技巧没有关系，if they don’t know the rules they can’t win the game. 如果他们不知道规则，就无法赢得比赛。
So I want to give you an overview of what mastering is and what exactly we’re trying to achieve here.所以，我想给你们一个什么是母带的概括得观点，而且我们在这里所要达到的准确目标。
Don’t worry, I’m not going to get all technical on you and use a bunch of jargon to try and make me sound clever, there’s enough thick reference books like that out there if you want to dig deeper (and die of boredom).放心，我不会跟全部跟你们用一些很技术的东西，用一大串术语让我看起来很聪明，已经有很多这样的参考书了，如果你想了解的更深，你们可以去找来看看.（并且死于无聊）
Part 1:The Definition Of Mastering. Mastering的定义（母带这个概念完全无法解释master,之后我就用master(mastering） 代替母带）
After scouring the net for a good definition of what mastering actually is, 当我在网上搜索关于mastering的定义的时候，I was very surprised that there really wasn’t a good one我惊讶的发现，没有一个是准确的, at least not one that really defined it in full and in a modern sense.至少，没有什么能完全的，现代化得定义master。So I gave it a lot of thought and this is what I came up with, 所以我在这里将会给你们一些我自己的想法。
“Mastering is the process of finalizing a track or album by both enhancing it and preparing it for final release” Mastering 是为了加强一个音轨，或者专辑，而且为最后的发行做准备的最后过程。
The way music is made and released is changing all the time.因为音乐的创作和发行一直在随着时间变化. Mastering was once the process of transferring the audio recording onto a wax master (to be honest, it was a little before my time). Mastering 曾经是为了把一个录音转换成一个原始 master的过程（老实说，比我还要老一点.）
Now it can be as simple as a couple of plugins on your mix bus.现在，它可以仅仅是几个插在你mix轨bus上的插件.
The important part to remember is that it’s the final link in the chain. 最需要被记住的是它在最后是有相互联系的。Its the last set of processes before a track is released to the world and that’s why it’s so important. 它是在一个音轨被发行到全世界上的最后一部，所以非常重要。
It’s not going to change the song, how well / badly it was recorded and played, or whether the lead singer could sing or not, but it will make the most of it.它不会改变这首歌录的，演奏的好与坏，或者是否这名歌手是否唱的好，但是，它将充分的发挥一首歌.
Simply put, a great master won’t make a poor track great, but a poor master can somewhat ruin an otherwise great track.简单的说，一个伟大的master 不会把一首烂歌变的很好，但是很烂的master可以在某种程度上破坏一首好的音轨。
Let me get a little more specific, I’ve broken down the purpose of mastering into 5 key areas...让我说的更细节点，我把mastering的目的分成了五个关键区域。
The 5 Purposes Of Mastering .
Mastering的5个目的.
1. The Final Check
1. 最终的检查
Mastering is the final chance we have to make sure the track or album is just as we want it, –or just as the client / artist wants it. Mastering 是我们确认这张专辑或音轨是否符合我们的意思的最后机会.
If you’re doing your own mastering,如果你在做你自己的mastering， it’s a good idea to get some objective ears in there, 最好有一只客观的耳朵，someone who hasn’t heard the track a million times一名没有已经听过这条音轨无数遍的人. It’s amazing how we lose perspective after listening to something over and over again, often it’s something really obvious. 我们在一遍又一遍的听一些东西之后会惊人的失去一些观点，通常是一些很明显的东西。
So find someone with a bit of a musical background to come listen in and give you their first impressions. 所以应该找到一个具有一点音乐背景的人来听听，然后给你反馈一些他们的第一印象。
A little word of advice, just something I’ve noticed when it comes to this; 一些建议。
Don’t ask someone ‘What do you think is wrong with this?’ 不要去问别人“你觉得这有什么不对的？”
It sets you up for failure because they will LOOK for something wrong, and often come up with the most random things that are completely irrelevant –Because they don’t want to seem stupid and miss something.这会让你开始失败，因为他们将会去寻找一些错误，然后想出一些完全相关的东西，因为他们不想看起来像个傻逼.
So instead, rather just tell them ‘this is the track, take a listen and let me know what you think’.所以，相反的，你只需跟他们说“听听这条音轨吧，然后让我知道你们的想法”
Also, always keep in mind that NO ONE is truly objective, so just take all comments with a pinch of salt.而且，请一直记住，没有人是完全客观的，所以不要把所有评论都太当回事。
2. Consistency 一致性
consistency is very important because there is such a wide variety of systems the track could be played on that we have to make sure that it’s going to sound as consistent to the artist’s vision as possible. 一致性非常重要因为现在有一个非常广泛的可以播放音轨的系统,所有我们要确保它听起来要与艺人的观点一致。
Say for example the bass line in a song is really important, now if someone plays the track back on their laptop are they going to be able to hear that bass line? 举个例子， 一首歌的bass line 非常重要， 如果现在某个人在他们的笔记本后面播放这条音频，他们能听见bass line么？
Probably not.也许不能。
This is what we need to take into consideration.这就是我们需要考虑的事.
Now of course there’s only so much we can do and it’s much better if this has been thought of in the recording and mix phase,当然现在，我们只能做这么多，如果这件事可以在录音和混音阶段就被考虑进去，将会更好。 but ultimately it all comes down to the mastering to do whatever it takes to make the track as good as possible.但是最终，它可全部归因于mastering, 尽可能的把音频做好.
Consistency could also apply to level consistency –is it really soft in some places and then really loud in others so people would have to keep changing the volume?一致性同样可以被看为level consistency—— 是否某些地方听起来比较软，其他地方又比较大声，所以人们得一直调节音量？
It also needs to be consistent in terms of the frequency spectrum so that it doesn’t blow the doors off of someone’s car. Rather than go into a complex explanation of this, just compare you track to other commercial tracks, you’ll notice that they all have a SIMILAR frequency range. 它同样需要在频率谱上保持一致，否则它可以把某个人的车门都绷掉. 简单的说，只需拿你的音频和其他市面的音频比较一下， 你就会发现它们全都有一个相似的评论范围。
You can also look at this visually on a spectrum analyzer, however, master with your ears not your eyes.你也可以在波频分析器上看一下，但是，是用你的耳朵做master 而不是眼睛。
3. Enhancement 增强
This applies to anything that can be done to the track to make it sound better than it already does and really bring out the most in it. 这可以适用于任何可以让音频听起来更好的东西.
This could be anything from using a stereo widener to make the track sound bigger, it could be driving the track through an analog desk to get some of those qualities, or it could be compressing it to make it sound more even overall. 可以是任何方法，从运用立体声扩展器来让音频听起来有更大声场，也可以，也可以通过模拟台（调音台）来提升音频，或者可以通过压缩来让音频在整体上听起来更加平均.
Most artists / record companies want their record to be as loud as possible because they think that this will give the track an edge.许多艺人／唱片公司都想让他们的唱片尽可能的声音大，因为它们认为这样可以给音频带来一个优势。
If you think louder is better, then it’s better.如果你觉得大声好，那就好吧.
There really are no rules, it all comes down to what you or the artist wants.. but keep in mind that it’s the FANS who are going to BUY the record so they are really the ultimate ‘customer’.这没有一个真正的规则，这完全取决于你或者艺人的想法。。。但是想象那些会去买唱片的fans,它们才是真正的“顾客”。
下一节转八楼
[ 本帖最后由 cqyyh1234 于 12-12-1 15:12 编辑 ]
4. Album Flow
It’s very important that songs work in the context of an album, you want the album to flow and sound like a performance.歌曲在专辑中的上下连贯是很重要的，你想让这张专辑连贯起来并且听着像现场演出。
Think about when you go to a live concert, the basic format is a couple of loud songs up front, some ballads in the middle and end off with some big numbers, if there’s an encore it’s generally a mellow song to round off the set.想象下当你在一场现场音乐会中，几首劲歌安排在前面是一个基本形式，在中间和结尾安排一些民谣和一些重量级的歌，如果有反场的话，一般都是些很熟悉的歌。
While there really are no rules, you could think of the flow of an album in the same kind of way.然而这也没有什么规则，专辑的安排顺序都是这几种方法。
The spaces between songs are also determined at this stage. You may notice that on some albums the tracks flow seamlessly from one to the next –especially live albums. 在舞台上，歌于歌之间的时间是需要被确定的。 你也许会注意到在一些专辑中的音频是无缝链接的——特别是一些现场专辑。
However, it’s not just a matter of deciding you want a gap or not, the spaces between songs are also dependent on how much space there is at the END of the previous song.但是，这不是因为你想在中间有一段间隔，歌于歌间的距离也取决于前一首歌的结尾有多少空间。
This all comes down to personal preference and you need to listen to the tracks in CONTEXT to hear what works.这完全取决于个人偏好，而且你需要在一个上下衔接的情况下去听听这些音频是怎样工作的。
It’s strange, if you listen to the gaps by themselves they’l often sound way too long, but when you listen to them in the context of the album they often sound too short, so it’s just something to be aware of.这很奇怪，当你单独听的时候，这些歌之间的间隔都很久，但是当你在一张有上下衔接的专辑中听的时候，这通常都很短，所以这些东西需要被意识到的。
5. Final Formatting
5 最终格式
Final formatting pertains to everything from naming the tracks, putting fade-ins and fade-outs, and saving to the desired format.最终格式附属于给这条轨道命名的一切，运用淡入和淡出，然后保存到需要的格式。
You want to make sure that each track starts and finishes seamlessly.你想要确保每条轨道的开始和结尾都无缝。
By putting a very short fade-in at the start and fading out the end it will make it sound a lot smoother.但是，在开头运用一个非常短的淡入，在结尾用一个淡出会让它挺起来平滑许多。
You don’t want HEAR the fade, you’re basically just fading in the track hiss –when listen at a high volume you’ll notice that there’s some natural noise just before the track starts and right at the end when the music fades out, that’s what I’m talking about. 你不想要听到淡入淡出，你只需要在基本地在音轨地hiss处做淡化处理， Hiss——当你在高音量听的时候，你可能会注意到，有一些自然的噪音，出现在音轨开始之前和因为开始淡出的结尾处。这就是我想表达的。
A little tip to keep in mind, most CD players tend to cut off the first few milliseconds of a track. So you want to account for that by putting in a little bit of space right at the beginning.请记住一些小建议，许多CD 播放器都会剪掉音轨前面的那几毫秒。所以你得考虑到，留那么一点点小空间在开始处。
I generally put between 100ms - 500ms, and if you import some commercial tracks into your software you should notice the same.我通常保留100毫秒－500毫秒，如果你在你的软件里打开一些商业音轨，你就发现都是这样了。
The final format is generally a CD which is 44.1kHz 16bit. CD的最终格式一般是44。1kHZ,16bit.
However, with more and more digital copies being sold these days, the mastering engineer may very well make an MP3 master as well.但是随着更多的数字拷贝化的销售方式，那些Mastering 工程师将会尽量的把mp3 master的更好。
观众反应
Some tips to keep in mind: 一些小建议
“Mastering Without Professional Reference Monitors Is Like Trying To Paint In The Dark”
没有专业得监听系统的Mastering， 就像试图在黑暗中绘画。
What does this mean? 这意味着什么？
Well, unless you’re one incredible artist with a lot of experience, you’re unlikely to get the Mona-Lisa from painting in the dark. 除非你是一名拥有非常多经验的不可思议的艺术家，你不太可能在黑暗中画出蒙娜丽莎。
Likewise, all the professionals rely on reference monitors to allow them to hear what’s really going on.同样的，所有的专家都依赖于专业的监听系统，这样才能让他们听得清楚。
You don’t need the best monitors in the world, but you do need something that’s going to allow you to hear the full range of frequencies and make good decisions –otherwise you’re literally just guessing.你不必拥有全世界最好的监听，但是你需要一些能让你听到全频段，而且能让你做出一个正确决定的东西，否则只能说你是在猜测。
If You Own A Set Of Speakers, DON’T Use Headphones As Your Primary Reference!如果你有一套音响系统，那么就不要用耳机来作为你的主要参考。
If you really don’t have any reference monitors, find some speakers! Headphones make it incredibly difficult to judge the sound.如果你真的没有任何监听，找一些音响来试试。耳机让你非常困难去判断声音！
In fact, years ago when I studied audio engineering, on the first little project we received we were told to use headphones only.事实上，几年前，当我在学习音频工程的时候，我们收到的第一个小项目背要求仅仅使用耳机。
When the our lecturer asked us what we learnt with a smile on his face, someone shouted out ‘You can’t mix with headphones!’当我们的讲师问我们从他脸上的笑容学到了什么的时候，有人大声叫到：‘你不能用一个耳机来咋mix.’
‘That’s your first lesson’ he replied."这是你的第一节课"老师回答到。
Almost any speakers will be better than headphones. Headphones can be a great reference, but just not as your primary source of reference, so just keep that in mind.几乎所有的音响都比耳机好。耳机是一个很好的参考，但是不要让耳机成为你的主要参考源， 所以请记住这点。
Listen At Different Volumes And From Different Listening Positions在不同的音量，不同的位置听。
Our ears hear frequencies differently at different levels (if you want to research this more, Google ‘Fletcher Munson Equal Loudness Contours’) so it’s important for us to reference at different levels.我们的耳朵可以听到不筒的频率在不同的标准。（如果你想了解更多，Google“Fletcher Munson Equal Loudness Contours”） 所以，用不同标准来做参考很重要。
It’s best that most of the time, and especially when you’re making adjustments, to listen at a low volume because we get ear fatigue which distorts and changes the way we hear things.最好在大部分时间里，特别是当你要做一些调整的时候，请用较低的音量去听，因为耳疲劳已经让我们分心，而且改变了我们听东西的方式了。
Make sure that you also listen from many different positions when you’re referencing back.请确保你在许多不同的位置去听。
A good little trick is to walk out the room and listen from the room next door, it’s amazing how obvious some things will be all of a sudden.有一个小小的诡计就是，走出房间，到下个一个门的地方去听。
“Mastering Without Professional Reference Monitors Is Like Trying To Paint In The Dark”
没有专业得监听系统的Mastering， 就像试图在黑暗中绘画。
What does this mean? 这意味着什么？
Well, unless you’re one incredible artist with a lot of experience, you’re unlikely to get the Mona-Lisa from painting in the dark. 除非你是一名拥有非常多经验的不可思议的艺术家，你不太可能在黑暗中画出蒙娜丽莎。
Likewise, all the professionals rely on reference monitors to allow them to hear what’s really going on.同样的，所有的专家都依赖于专业的监听系统，这样才能让他们听得清楚。
You don’t need the best monitors in the world, but you do need something that’s going to allow you to hear the full range of frequencies and make good decisions –otherwise you’re literally just guessing.你不必拥有全世界最好的监听，但是你需要一些能让你听到全频段，而且能让你做出一个正确决定的东西，否则只能说你是在猜测。
If You Own A Set Of Speakers, DON’T Use Headphones As Your Primary Reference!如果你有一套音响系统，那么就不要用耳机来作为你的主要参考。
If you really don’t have any reference monitors, find some speakers! Headphones make it incredibly difficult to judge the sound.如果你真的没有任何监听，找一些音响来试试。耳机让你非常困难去判断声音！
In fact, years ago when I studied audio engineering, on the first little project we received we were told to use headphones only.事实上，几年前，当我在学习音频工程的时候，我们收到的第一个小项目背要求仅仅使用耳机。
When the our lecturer asked us what we learnt with a smile on his face, someone shouted out ‘You can’t mix with headphones!’当我们的讲师问我们从他脸上的笑容学到了什么的时候，有人大声叫到：‘你不能用一个耳机来咋mix.’
‘That’s your first lesson’ he replied."这是你的第一节课"老师回答到。
Almost any speakers will be better than headphones. Headphones can be a great reference, but just not as your primary source of reference, so just keep that in mind.几乎所有的音响都比耳机好。耳机是一个很好的参考，但是不要让耳机成为你的主要参考源， 所以请记住这点。
Listen At Different Volumes And From Different Listening Positions在不同的音量，不同的位置听。
Our ears hear frequencies differently at different levels (if you want to research this more, Google ‘Fletcher Munson Equal Loudness Contours’) so it’s important for us to reference at different levels.我们的耳朵可以听到不筒的频率在不同的标准。（如果你想了解更多，Google“Fletcher Munson Equal Loudness Contours”） 所以，用不同标准来做参考很重要。
It’s best that most of the time, and especially when you’re making adjustments, to listen at a low volume because we get ear fatigue which distorts and changes the way we hear things.最好在大部分时间里，特别是当你要做一些调整的时候，请用较低的音量去听，因为耳疲劳已经让我们分心，而且改变了我们听东西的方式了。
Make sure that you also listen from many different positions when you’re referencing back.请确保你在许多不同的位置去听。
A good little trick is to walk out the room and listen from the room next door, it’s amazing how obvious some things will be all of a sudden.有一个小小的诡计就是，走出房间，到下个一个门的地方去听。
Part 2:
The 7 Step Formula
Whether they recognize it or not, all the professionals have a set way of doing something, a ‘success formula’ if you will.无论他们是否认可，所有专家都有一套做事的方法，一个“成功的公式”。
It’s this system that they use which gets them consistent results over and over again.这是获得他们一贯的结果一遍又一遍的系统。
Now of course, every track is different and they have many DIFFERENT ‘formulas’ and methods that they use.当然，每条音轨都不相同，而且他们有许多不同的“公式”而且他们用了许多不同的方法。
In the same way, this isn’t meant to be a ‘one-size-fits-all’ solution, just a proven method and a great starting point for getting a solid master with almost any style of music.同样的，这不意味着要成为“一个使用于所有”的解决方案，只是一个被证明的方法和一个好的开始，为了给任何音乐风格获得一个稳固的Mastering。
Once again, try it out and see what works for YOU, and then decide for yourself what you want to stick with and what you want to throw out (don’t worry, we can still be friends).再一次，试试他，看看你做出了什么，然后再为你自己决定，什么是你想留下的，什么是你想扔掉的（别担心，我们仍然是朋友）
Step 1: ‘Prepare It’
The first thing you need to do is the prep work, just like a chef must prepare all the ingredients, so we must prepare for the (hopefully delicious) meal we’re about to make.第一件要做的事就是准备工作，就像一个厨子必须准备所有配料，所以我们必须要为我们将要做的饭而准备。
Bounce Down Your Multi-Track Session To A Stereo File。把你的多轨Session bounce成一个立体声文件。
Although mastering is done in many different ways these days, to keep it simple it’s best to export / bounce your multi-track down to a stereo uncompressed format such as ‘.wav’ or ‘.aiff’.即使Mastering在现在有许多不同的方法，最简单的就是导出你的多轨文件成一个立体声，未压缩的格式，比如说“wav”，或者“Aiff”。
You want to make sure that it’s kept in the highest resolution possible, I like to master at 96kHz 24bit as it seems to ‘hold up’ better to the processing. 你想确定，它能有最高的解析度，我喜欢在96kHz，24Bit下master，这样它会在处理的过程中看起来更好点。
You see, every time you use a plugin the computer has to recalculate that waveform again and the inaccuracies in those constant calculations are what lead to things like noise, distortion and other unwanted artifacts.你看，每当你在电脑上运用插件时，一些不准确的计算总会导致一些噪音，失真，或者其他不理想的人工效果。
When you use a higher resolution, there is more information contained in the file and so when it’s processed the computer can be more accurate.当你运用一个更高的解析度，会有更多的信息被包含在文件里，所以当它被处理时，电脑可以更准确。
The important part to remember is just to use the highest resolution you can.所以运用高解析度是一个必须记住的要点。
Now the biggest limitation is your computer’s processing power, when you work at 96kHz it’s having to do DOUBLE the work than at 48kHz, so especially with big sessions it’s often not practical to record or mix at such a high resolution.现在，最大的限制是你电脑的处理能力，当你在96kHz，它必须比48kHz多一倍的工作量，所以特别是在一个大Sessions 时，通常不会在如此高的解析度下录音或者Mix。
However, you can still convert your mix to 96kHz 24bit for the mastering, it won’t be as obvious but it does help.但是，你仍然可以转换你的mix 到96kHz 24bit来做Mastering，这不会很明显，但是会有帮助。
Of course if you can’t or don’t want to do this, there’s nothing wrong with 44.1kHz or 48kHz.当然，如果你无法这样做，用44.1kHz 或者 48kHz也没什么错。
Try and stick with 24 bit though, you only want to save to 16 bit when you make your FINAL master. 试图而且保持24bit，但是当你最终Master时，你只是想保存到16bit。
The 7 Step Formula
Whether they recognize it or not, all the professionals have a set way of doing something, a ‘success formula’ if you will.无论他们是否认可，所有专家都有一套做事的方法，一个“成功的公式”。
It’s this system that they use which gets them consistent results over and over again.这是获得他们一贯的结果一遍又一遍的系统。
Now of course, every track is different and they have many DIFFERENT ‘formulas’ and methods that they use.当然，每条音轨都不相同，而且他们有许多不同的“公式”而且他们用了许多不同的方法。
In the same way, this isn’t meant to be a ‘one-size-fits-all’ solution, just a proven method and a great starting point for getting a solid master with almost any style of music.同样的，这不意味着要成为“一个使用于所有”的解决方案，只是一个被证明的方法和一个好的开始，为了给任何音乐风格获得一个稳固的Mastering。
Once again, try it out and see what works for YOU, and then decide for yourself what you want to stick with and what you want to throw out (don’t worry, we can still be friends).再一次，试试他，看看你做出了什么，然后再为你自己决定，什么是你想留下的，什么是你想扔掉的（别担心，我们仍然是朋友）
Step 1: ‘Prepare It’
The first thing you need to do is the prep work, just like a chef must prepare all the ingredients, so we must prepare for the (hopefully delicious) meal we’re about to make.第一件要做的事就是准备工作，就像一个厨子必须准备所有配料，所以我们必须要为我们将要做的饭而准备。
Bounce Down Your Multi-Track Session To A Stereo File。把你的多轨Session bounce成一个立体声文件。
Although mastering is done in many different ways these days, to keep it simple it’s best to export / bounce your multi-track down to a stereo uncompressed format such as ‘.wav’ or ‘.aiff’.即使Mastering在现在有许多不同的方法，最简单的就是导出你的多轨文件成一个立体声，未压缩的格式，比如说“wav”，或者“Aiff”。
You want to make sure that it’s kept in the highest resolution possible, I like to master at 96kHz 24bit as it seems to ‘hold up’ better to the processing. 你想确定，它能有最高的解析度，我喜欢在96kHz，24Bit下master，这样它会在处理的过程中看起来更好点。
You see, every time you use a plugin the computer has to recalculate that waveform again and the inaccuracies in those constant calculations are what lead to things like noise, distortion and other unwanted artifacts.你看，每当你在电脑上运用插件时，一些不准确的计算总会导致一些噪音，失真，或者其他不理想的人工效果。
When you use a higher resolution, there is more information contained in the file and so when it’s processed the computer can be more accurate.当你运用一个更高的解析度，会有更多的信息被包含在文件里，所以当它被处理时，电脑可以更准确。
The important part to remember is just to use the highest resolution you can.所以运用高解析度是一个必须记住的要点。
Now the biggest limitation is your computer’s processing power, when you work at 96kHz it’s having to do DOUBLE the work than at 48kHz, so especially with big sessions it’s often not practical to record or mix at such a high resolution.现在，最大的限制是你电脑的处理能力，当你在96kHz，它必须比48kHz多一倍的工作量，所以特别是在一个大Sessions 时，通常不会在如此高的解析度下录音或者Mix。
However, you can still convert your mix to 96kHz 24bit for the mastering, it won’t be as obvious but it does help.但是，你仍然可以转换你的mix 到96kHz 24bit来做Mastering，这不会很明显，但是会有帮助。
Of course if you can’t or don’t want to do this, there’s nothing wrong with 44.1kHz or 48kHz.当然，如果你无法这样做，用44.1kHz 或者 48kHz也没什么错。
Try and stick with 24 bit though, you only want to save to 16 bit when you make your FINAL master. 试图而且保持24bit，但是当你最终Master时，你只是想保存到16bit。