You can't trust your ears on inaudible 30hz and below. 
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Los Angeles, CA
Reference tracks are helpful, looking at the phase scope/ EQ meter is helpful.
But what's helped me IMMENSELY recently is playing back the track through the shittiest speakers I can find.
Mix the track on good speakers so you can hear everything.
But master it so that it sounds good even coming out of a laptop!
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Los Angeles, CA
an0va wrote:
Some people actually suggest using an EQ after every gain device to keep it under control, like so:
EQ (cut the sub) -> Compressor -> EQ (cut the sub area again because the compressor will boost it back up) -> Saturation -> Final EQ (cut the sub yet again, but also this is where you do any creative EQing for the overall track sound)
Also, THIS. Aboslutely this. There's a LOT of wasted energy underneath the audible section of the subs. Especially if you're recording your channels separately- you just don't need any of it if it's not your bass. You won't notice all the extra amplitude it gives your other frequencies until you hit the limiter, but yeah this really helps things pop.
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IL, US
for me, it goes hardware 3 band EQ on each channel-> main mix->hardware compressor->noise reduction (at least 3 passes)->software compressor->31 band software EQ on main mix->normalize for tracks i don't want to multitrack and 3 band EQ->noise reduction->31-band software eq on each channel->software compressor->31 band EQ on main mix->normalize for multitracked stuff... i always do the software EQ with a spectrum analyzer in full view ..then i listen on a wide range of playback devices on speakers (in my car, through laptop/netbook speakers, mackie monitors, floor speakers, 5.1 surround setup, & a drawer full of assorted commercial headphones/earbuds) on & off for a while until im sure there's nothing left i want to change
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Toronto, Ontario, Canada
I honestly wouldn't bother too much with looking at scopes. Fresh ears can make a big difference and understanding your reference monitors is also very, very important.
However, the best way for a beginner to check a master is to take a recording of it and listen to it on as many different systems as possible and at many different volume levels. Play it in the car, play it on your phone, play it on a nice hi-fi, play it on some shitty headphones.
The point of a general master is to sound good on the widest range of devices. If you're doing a specialized release, your target might be different. For example, FLAC releases are generally aimed at audiophiles and so you can aim it more specifically at higher end audio systems and headphones.
Most of the time, you'll probably be making a wav/mp3/ogg for general use and therefor a very wide range of devices will be used to listen to your song.
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buffalo, NY
Scopes are great for the high end and low end especially.
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Mannheim, Germany
EvilWezil wrote:
Reference tracks are helpful, looking at the phase scope/ EQ meter is helpful.
But what's helped me IMMENSELY recently is playing back the track through the shittiest speakers I can find.
Mix the track on good speakers so you can hear everything.
But master it so that it sounds good even coming out of a laptop!
this, so much. who am i kidding though, the last time i put any effort into mastering was like a year ago; that is why all my LSDj tracks on soundcloud have a "beta" label
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Germany
Orange Creamsicle wrote:
EvilWezil wrote:Reference tracks are helpful, looking at the phase scope/ EQ meter is helpful.
But what's helped me IMMENSELY recently is playing back the track through the shittiest speakers I can find.
Mix the track on good speakers so you can hear everything.
But master it so that it sounds good even coming out of a laptop!this, so much. who am i kidding though, the last time i put any effort into mastering was like a year ago; that is why all my LSDj tracks on soundcloud have a "beta" label
if you put some more effort in before uploading, there might actually be people who listen to your music. im fine though, i like that raw shit.