A good mastering engineer doesnt have a “genre” example, Mandy Parnell mastered Syro by Aphex Twin, she had never heard his music before she did that album.
So, no it doesnt matter.
Ive had a few tracks professionally mastered by labels. Did I like the outcomes? Yeah kinda.
Do I think its worth it?
No. I dont.
Ive had good feedback from albums Ive mastered myself, that l listen back to now and find it terrible. Ive never received any feedback saying, ‘your mastering job isnt very good’.
Im no professional, I dont do gigs anymore, I make stuff and stick it on bandcamp. I hate social media, Im not chasing algorithms. If people like my music, its the music they like, not the mastering.
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I am interested to practice mastering, so if anyone wants to have a go for free, DM the shit out of me.
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great feedback, not chasing social media/algorithms at all, I want to do it mostly for myself, I guess I want to have a comparison between what I do and what a more experienced person does, what do they listen to, what they cut out, etc., I guess I’m also ready for the outcome of “yeah I’m not doing that anymore, whatever I do is enough and not worth it” but still, very interested in hearing someone else giving it a go…
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My experience is the most valuable thing a second party (mastering engineer) brings is a set of other very well trained ears then yours. A room that’s in most cases has better acoustic treatment then most of ours, and someone who doesn’t have to switch from a creative producing to mixing to mastering mindset all with the same material. They hear your track for the first time ever, make notes on what first sticks out and what needs adjusted and make it louder. Some make it just louder and make it so that it will translate as good as is can be on all systems and platforms and some will enhance the perceived quality by the colour their hardware chain can add in a good and pleasant way.
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