1. Adjusting the level of each title in relation to all other titles within the project.

1. Assessing and minimising the number of uncorrectable E32 errors and the block error rate.

1. Enhancing instruments which, in retrospect, did not seem to come out properly.

1. Controlling the dynamics of each title.

1. Correcting the direct current offset and the left to right balance offset in each title.

1. Creating an appropriate space or a cross fade between the titles.

1. Ensuring the mono compatibility of each title.

1. Equalising the titles to make them brighter or darker.

1. Fine tuning the fade ins and outs of each title.

1. Harmonising the titles so that the project sounds unified.

1. Optimising the project for the main boadcasting medium you are targeting.

1. Reducing clicks, crackles, hum, hiss or other unwanted noises that may be present in each title.

1. Reducing any excessive sibilance in each title.

1. Reducing or widening the stereo image of each title.

1. Please note that we are normally able to eradicate or substantially minimise most flaws, except distortion and saturation, since these are embedded in the signal.

1. Music written for a long-term musical experience contains dynamic contrast in the form of a judicious mixture of dynamics variety. Overcompression, which eliminates dynamic contrast by creating a continuously monotonous loudness and limited dynamic range, contributed to the death of disco music. Any music genre that does not grow in musicality will quickly die and dynamic contrast plays a large role in musicality.

1. If you are not yet convinced, think of dynamic range as loudspeaker excursion (the extent of the back and forth cone motion). When the peaks of the music are controlled, the rest of the signal can be allowed to rise, which we perceive as the body of the music being louder. At the same time however, since the peaks of the music are controlled, the loudspeaker excursion is narrower (the cone does not move as far as before). This means that there is less thrust from the motion of the air that carries the sound from the loudspeaker to your ears, which also means less depth, impact, naturalness, openness or punch in the music.

1. After the recording, the next step is the mixing which may take anywhere from 4 hours to 4 weeks depending on factors such as budget and artistic options. Each title is usually mixed in isolation. Rarely do you have the luxury of switching and comparing the titles as you mix. Some mixes may be done when ears are fatigued and others when ears are fresh. The result is that all titles sound different.

1. Very few studios have accurate monitoring systems. Placing loudspeakers on top of a mixing console creates serious frequency response peaks and dips. A typical control room is so filled with equipment that it is impossible to place a monitoring system without causing comb filtering due to acoustic reflections. There is no time to see how your music will sound on various systems ranging from car to audiophile systems and in different acoustic environments. The result is that your titles are compromised with some frequencies standing out too much and others too little.

1. Premastering, not mastering, is the more accurate term since the true master for a compact disc is called the glass master which is etched on a laser cutter at the pressing plant. In fact, the glass master is destroyed during the production process. The only permanent item is the stamper, a round metal form that can be used to press thousands of compact discs before it is replaced.

1. Even though it really is a premaster, it is customary to label it “master” because there will be no further alteration of the digital audio signal. If the pressing plant does its job correctly, the data on the final compact disc will be identical to those on the premaster.