Audio mastering is often described as the final touch on a track or an album before it is released and reaches listeners’ ears. But what does mastering actually entail? To deconstruct the intricacies of this final crucial phase of music production, we spoke with Atharva Dhekne, Immersive Engineer & Mastering Production Engineer at Sterling Sound in Edgewater, NJ who gave us an inside look at the process both technically and artistically.
What Is Audio Mastering?
Audio mastering is the final step in the post-production process. The usual way of the music production timeline is arranging and composing music for a track, then recording it at a studio. Then every individual element such as keys, vocals, guitars, drums, percussion, strings, and many more are balanced out and post-processing effects such as reverbs, delays are added — this is part of the mixing process. Once the mix is folded down from tens (sometimes even hundreds) of channels of audio to a stereo track, the mastering engineer starts working on it. Mastering is a process of taking the stereo mix and making it as consistent, clear, and compatible as possible on every playback system. “The idea behind mastering is to make a track sound its best everywhere—from studio monitors to car speakers to earbuds”, Dhekne explains.
It is not a case of changing the direction of a piece but rather fine-tuning and enhancing what has already been approved by the artist for the mix. “A good mix doesn’t necessarily require over-processing,” Dhekne continues. “Mastering is about subtlety—facilitating small, yet impactful changes. When every single track in an album is recorded and mixed with various different studio personnel and individual tracks in mind, an audio mastering engineer makes the all tracks and entire record sound sonically uniform. Artists, producers and engineers working on any album repeatedly listen to the same songs enough to create unwanted listening biases; this is where mastering engineers come to offer a different pair of ears. This different perspective is highly recommended and artists avail mastering engineers’ services for just this particular reason.”
Phases of the Mastering Process
1. Critical Listening
Mastering any audio has to be in a critical listening environment. Engineers have to evaluate tonal balance, dynamic range, loudness, and spatial imaging. “You get a sense of what the mix is saying sonically, and where it could use some improvement,” says Dhekne.
2. EQ Adjustments
Equalization (EQ) levels frequency ranges. It may involve cutting high-end brightness, adding low-end warmth, or correcting muddiness in the mids. “EQ decisions should benefit the artist’s vision and sound good on any system,” Dhekne says.
3. Compression and Limiting
Dynamics processing ensures that the loudest and quietest parts of a song are within an acceptable range. “Compression glues all the individual elements together, while limiting prevents true peaks going over levels,” says Dhekne. “It’s about finesse, not blasting your speakers.”
4. Stereo Imaging
Spatial stereo placement can be adjusted to ensure width and depth in a track. This could be done with mid-side equalization as well. “You’re looking for a soundstage that feels wide and open but still cohesive,” Dhekne adds.
5. Finalizing Formats
Once the sonic adjustments are finalized, tracks are sequenced and exported into various formats: streaming high-res audio, vinyl, CDs, cassettes, and radio edits and TV broadcasts. “Each format has different deliverables and specifications. Vinyl, for example, has special attention needs regarding phase correlation and bass handling while digital streaming platforms have loudness target specs.”
Tools of the Trade
Atharva points to working with both analog and digital gear. “We integrate a hybrid approach at Sterling Sound. Analog gear provides warmth and character, and digital plugins offer precision and easier access to revisions and recalls. The type of project determines which gear is used.”
Dhekne frequently works together with Eventide Audio plugins among others, where he also helps develop products. “Having a role in software and hardware design makes me better understand how and why specific electronics sound the way they do, and how to retrieve the best from them,” he says.
Dhekne notes that plugin ecosystems are evolving rapidly, allowing mastering engineers to work more efficiently while also pushing sonic boundaries. “There’s a false growing need for intelligent, adaptive tools — AI-driven EQs or dynamic limiters that learn the characteristics of your material in real time. AI tools should aid the engineer and their workflow; they should not be meant to take over the creative process.”
The Role of Communication
One of the less-talked-about aspects of mastering is seamless communication. Engineers need to become familiar with the artist’s vision. “I like to get in touch with the mixing engineer, producer, or artist to brainstorm some ideas. Even a simple email or reference track ensures we’re on the same page creatively,” Dhekne says.
In fact, Dhekne views mastering as a collaborative effort. “It’s not about fixing the mix or taking control and making your mark on the mix; it’s about communicating the artist’s intent in the most open and effective way possible.”
Mastering for Immersive Formats
With the rise of Dolby Atmos and other spatial formats, mastering has evolved. “You’re not just working with the left and right channels anymore; now it’s a spatial field,” says Dhekne. “It introduces new challenges—like head-tracking, object placement, and render format considerations—but also new opportunities for creativity.”
Atharva has contributed spatial audio mastering standards with various industry leading professionals and companies, where he has consulted on best practices. “Many people think immersive mastering is just about making something sound wider, but it’s actually making a space that is believable. And that requires precision and restraint.”
Challenges and Misconceptions
Mastering is usually beset by myths—the most common of which is that it can save a horrible mix. “You can’t do everything in mastering. If a mix is out of balance or doesn’t have definition, it needs to be sent back a step. There’s a reason why mixing and mastering are two different processes. Mastering needs to be the icing on the cake, not a complete revamp of the song,” Dhekne states.
Another obstacle is the “constant loudness war.” Although streaming platforms have adopted loudness normalization requirements, artists and labels still request loud masters to successfully compete. “It’s a balancing act. You want impact without compromising musicality.”
The Human Element
Despite the increasing reliance on software, Dhekne emphasizes that mastering is more than ever a human process. “Critical listening, experience, intuition—these are things no plugin or AI can replace. Your ears are the ultimate judge.”
He also highlights the psychological component of mastering. “It’s not just about frequencies and dynamics and technical jargon. You’re making decisions based on how a song feels. That emotional filter is what separates a good master from a great one.”
A Final Word
Mastering is a highly subtle process, yet its impact is immense. “It’s the last step on a long journey,” Dhekne thinks. “It’s about demonstrating respect for what the artist wants to portray as their art and ensuring that it comes across as strongly as possible to the listener.”
With increasing diversity in music listening and increasing advancement in technology, the role of the mastering engineer evolves. Engineers like Atharva Dhekne are defining what that evolution looks like, striking a balance between the science and art of sound in a world that demands both.
To learn more about Atharva’s process, visit https://tacitonic.com.
