Welcome to Sage Audio. Today we’re talking about How to Master Dynamic Classical Music
But first If you have a mix that you need mastered send it to us at SageAudio.com to
receive a free mastered sample of it.
Don’t Attenuate the Side Lows
I usually start a mastering chain by making the lows on the side image mono - but this
doesn’t work in a classical mastering session, since the image should be retained. For example,
double bass is often expanded into the side image but should be left intact during mastering.
So when using subtractive equalization, be sure you aren’t affecting your stereo image.
Avoid Aggressive Processing
This point is almost a given, but classical music should be left as unprocessed as possible
to retain the original timbre of the recording. When listening to classical music, appreciators
of it want to hear a natural-sounding performance - meaning aggressive processing should be
avoided.
This applies to limiting, compression, distortion, stereo imaging, and more.
Use Low-Level Compression Cautiously
Low-level compression is a great way to make a master more detailed without affecting the
shape of the peaks, but it should be used somewhat carefully since it might increase
the noise floor. This will depend on the low-level compressor that you use, but best to use caution.
Classical recordings can already be slightly noisy due to how they’re recorded, so increasing
the noise floor isn’t best.
Gentle Compression can Help
Although aggressive compression should definitely be avoided, some very subtle and slow compression
can help tighten the sound and pull everything together. If used thoughtfully, compression
can create a cohesive sound, making the instrumentation seem more like a collective performance..
When I introduce downward compression to classical music, I like to only have about .5 to 1dB
of steady compression.
Tape or Tube Saturation is an Option
When mastering classical music, it might seem like you should avoid distortion; however,
subtle saturation can create a cohesive sound, as well as create harmonics that make the
fundamentals more easily perceived. Tape and tube distortion are good options, which add
3rd order, and 2nd order harmonics respectively.
Each saturator is different so get to know the processor you use before trying it out
on a classical track.
If Needed, Use Multiband Expansion
Odds are, the classical track that you’re mastering is already dynamic enough, but if
during mixing too much compression was used, counteract this with multi-band expansion.
This way you can control the dynamics in a frequency-specific way, and restore the timbre
with the attack and release settings.
Ideally, you won’t need to use expansion, but it can be a good way to repair an over-processed
classical track.
-20 LUFS to -16 LUFS
When mastering a classical track, -20 LUFS to -16 LUFS is a reasonable range to master.
Retaining a track’s dynamics while trying to achieve a decent loudness can be a challenge,
but fortunately, -20 LUFS to -16 LUFS is a somewhat easy range to achieve and requires
little limiting.
With that in mind, you’ll never need aggressive limiting when mastering classical music.
Use Natural Sounding Limiting
If limiting does occur when mastering a classical track, it’s best to make it as natural sounding
as possible by utilizing a limiter with transient shaping capabilities. Elephant by Voxengo
offers this type of functionality and allows greater control over the master’s timbre
than with most limiters.
Control Stereo Image with Limiting
If your limiter allows for it, it’s a good idea to at least try altering the channel
linking of your limiter to see how it’ll affect the stereo image. By altering your
transient and sustain linking, you can subtly affect your stereo image in a way that benefits
classical music.
Granted, this won’t be the case in every situation, but I’d definitely recommend
trying it out.
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mastered sample of it.
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