Seamedu School of Pro-Expressionism

Task/Project Brief

Batch Name: Batch 2022-25 Department: B.Sc SE

Task Name: Mastering Audio (Practical)

Date: Submission Date:

Marks: 10

Learning Outcomes:
The following table outlines the specific Learning Outcomes, the related actions that will be
undertaken, the knowledge that will be leveraged, and the design and implementation skills that will
be developed throughout this assessment.

In this assessment you will have the opportunity to

LO
Learning Outcome present evidence that shows you are able to:

Evaluate the mix and perform

mastering on a stereo mix track
Apply your understanding of audio processing, critical
keying in appropriate tools and
LO1 listening skills & practical ability to create a
processes, to delivering a final master
professional and polished final audio product.
with optimum dynamics and
loudness.

Task Brief:
Master an audio mix of your choice and achieve a final master. Describe your evaluation / thought
process for each processing unit in your Master Chain. The list of tasks provides a master process
flow and It is descriptive to serve as a check points for your reference only.

List of Tasks:

Selection

● Select the mixed track from Cambridge website to master on the DAW of your choice.

Pre-Master Check:

● Import the track into your mastering DAW and ensure it is properly gain-staged,
leaving enough headroom (around -6 dB to -3 dB peak).
● Listen critically to identify any immediate issues or areas of focus, such as frequency
imbalances or dynamic inconsistencies. Make notes.
 ● Optionally Push the song to the limiter - to the desired target levels and listen if you
hear any issues with tonal balance, distortion, harsh resonances etc..

Equalisation:

● EQ (Equaliser): You can utilise standard/ linear phase EQs to sculpt the tonal balance of the
mix and apply corrective processing to harsh resonances.
● Tame harshness or muddiness in the mid-channel and enhance sparkle or wideness
in the side channels if necessary.

Compression:

● Use (multiband) compression to control dynamics and glue the mix together. Aim for
a subtle gain reduction (1-3 dB) to avoid over-compressing the track.
● Adjust attack and release times to retain the track’s natural transients and energy
while smoothing out dynamic peaks and lowering dynamic range.
● Prioritise a low ratio (e.g., 1.5:1 to 3:1) to tame dynamics without sounding overly
compressed depending on the nature.

Saturation:

● Add gentle saturation to enhance harmonics, warmth, and perceived loudness. Add
character without distorting.
● Adjust the drive level carefully to avoid excessive distortion; subtlety is key in
mastering.

Stereo Image:

● Ensure that the mid-channel retains punch and clarity, while the sides provide a
sense of space without becoming overly wide
● Check for Polarity / Phase cancellation issues.

Level Balance:

● Adjust the overall level to ensure all sections have meaningful relative loudness
staging (intro vs verse vs chorus etc)

Limiting

● Set the True Peak Limiting & -1 db TP Ceiling

● Assess any uneven ducking of any elements in the mix/Loss of Transient character
due to Limiting
 ● Target a loudness should be between -11 LUFS to -14 LUFS (Integrated Loudness Units). Use a
loudness metre plugin to monitor and adjust your mastering decisions accordingly.

Reference

● Loudness Penalty (Upload File Check Website)

Deliverables:

1. The Master .wav

2. Original mix .wav.
3. A small document/presentation :
a. Describing thought process of the mastering chain
b. Screenshot of Loudness penalty website analysis for the final master.
c. Link to original on cambridge site.
4. Show The Master Session to your faculty for verification.

ADDITIONAL Guidelines:

● Each student needs to submit the files individually - .Wav File 24 Bit, 48 KHz
● The activity can be done in any DAW of your choice.
● Share ALL the files as a zip file.

Grading Criteria:

Criteria 25% - Needs

100% - Distinction 75% - Merit 50% - Pass
(weightage) Improvement
1. Overall tonal Tonal balance and clarity Tonal balance and Tonal balance and
Tonal balance and clarity
balance and are exceptional, with a clarity are adequate, clarity are poor,
are good, with a clear and
clarity of the well-defined and with some frequency with noticeable
well-defined sound across
mastered audio pleasing sound across all ranges slightly lacking issues in frequency
most frequencies.
(15) frequencies. in definition or clarity. balance and clarity.
Dynamics control is Dynamics control is
Dynamics control is Dynamics control is
2. Effectiveness adequate, with a somewhat
highly effective, with a effective, with a
of dynamics generally managed ineffective, with
well-managed loudness well-managed loudness
control and loudness target that noticeable issues in
target that enhances the target that supports the
loudness target somewhat supports loudness
overall listening overall listening
(15) the listening management
experience. experience.
experience. affecting the
 listening
experience.
There are some There are several
There are minor audible
There are no audible noticeable audible audible artefacts or
3. Absence of artefacts or occasional
artefacts or clipping, artefacts or occasional frequent clipping
audible artefacts clipping, but they do not
resulting in a clean and clipping that somewhat that significantly
or clipping (10) significantly impact the
professional sound. impact the overall impact the overall
overall sound quality.
sound quality. sound quality.
The mastered audio The mastered audio
4. Overall The mastered audio The mastered audio
exhibits adequate exhibits poor
quality and exhibits exceptional exhibits good quality,
quality suitable for quality not suitable
professionalism quality suitable for suitable for intermediate
basic professional for professional
(10) commercial release. professional contexts.
contexts. contexts.