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Before, during or after the various mastering operations, at some point it will be necessary to perform the editing<\/b>understood here essentially as audio editing<\/b>obviously to be applied to finished mixes<\/b> and, in some cases, to their stems<\/b>.<\/p>\n
These operations are essentially carried out with the common \"cut\/copy-paste<\/b>\" and by means of the fading<\/b> simple and crossed and their variants.<\/p>\n
The purposes of editing can be summarised as:<\/p>\n
In case of stem mastering<\/b>it is advisable to have all the stems<\/b>in order to be able to carry out 'simultaneous parallel' operations on all tracks more easily, quickly and without risk.<\/p>\n
These are mainly operations to be carried out at the head and tail end of each track, in order to determine clean, pleasing and well timed attacks and conclusions of the mixes.<\/p>\n
But sometimes it is also a matter of removing, moving, adding parts of the song to make some different versions, to be added to the main song or as a substitute for it.<\/p>\n
Therefore, after preliminary findings: <\/b><\/p>\n I would recommend performing this operation immediately, in order to finally be able to master 'clean' files, it being understood that it will always be possible to correct something later, as these are not 'destructive' processes.<\/p>\n It must be done exactly one instant before the start of the useful audio programme (max. 1ms will be perfect), in order to eliminate with a cut<\/b> sharp and precise any spurious noise<\/b>, hum or rustle at the beginning of the song, taking extreme care not to erase even the slightest bit of the audio programme's attack times (particularly high risk in songs with fade-in<\/b>as the crescendo sound tends to blend in with the background noise).<\/p>\n To avoid problems, monitor at high volume to detect even the slightest unnaturalness, and jointly display the appropriately enlarged waveform.<\/p>\n If in doubt, it will be better to anticipate the cut point by a few moments rather than risk even minimal truncation of the song.<\/p>\n It will provide for the addition, at the head of the song, of a time of absolute silence<\/b> (head-silence<\/b>) of about 200-500 ms<\/b>ideally about 1\/3 of a second (333ms), however never less than 1\/5 of a second or more than half a second.<\/p>\n This time is advisable in order to ensure a sufficiently fast but still correct and clean start of the music even in certain players that require start-up times<\/b> particularly slow (e.g. some CD devices), otherwise it could happen that the first instant of the audio programme is \"truncated when listening<\/b>\".<\/p>\n It should have a duration equal to or less than the Start Silence<\/b> referred to above.<\/p>\n In reality, this is more virtual than useful, certainly without audible effects, but it does guarantee the prevention of any noise in the attack.<\/p>\n End cutting, silence, fading<\/b><\/p>\n It should always fully include the cut-off times of the reverb recorded in the mix (and also of any reverb we may have inserted during mastering).<\/p>\n In the event that the final reverberation recorded in the mix appears too long, it may also be considered (together with the artistic director) to shorten it by means of a End Cutting<\/b> establishing the point of completion of the decay, and then a End Fading<\/b> progressive and well-calibrated, in order to simulate a 'natural' decay curve faster than the original one.<\/p>\n It may also happen that we come across an awkwardly cut mix, with too sharp a truncation at the tail, in which case it will have to be appropriately shortened and faded with a cutting and fading operation in order to create a harmonious and gradual decay.<\/p>\n It may still happen that we operate with a mix \"faded<\/b>\"too abruptly or not progressively, and it will be our task to restore its grace, progressiveness and cleanliness by careful use of volume automations.<\/p>\n In any case, at the end of the piece, after the complete decay of the volume of the piece and its tail resonances, it will be good to add a brief End Silence<\/b> of about 200-500 ms<\/b> or slightly more.<\/p>\n Middle cutting, insert<\/b><\/p>\n Occasionally, the customer may also request a short version<\/b> of the piece, which will require the deletion of one or more central musical themes and the precise cuing of the two edges, operated by means of a cross-fade.<\/p>\n In that case, here are some recommendations:<\/b><\/p>\n Similar warnings for the cuts<\/b> and the crossfade<\/b> in the case of an additional segment within the song<\/p>\n N.B.<\/b><\/p>\n If the production requires the entire track to be used in addition to any short and\/or long versions, it will be advisable to make the cuts at the end of the mastering process, before the LUFS measurement and final export, so that the same operations do not have to be repeated several times. <\/b><\/p>\n In the event that a single cut version is required, renouncing the original, it will instead be advisable to immediately carry out the cutting and subsequent stitching, so as to work on a single definitive element.<\/b><\/p>\n L’editing nel mastering Prima, durante o dopo le varie operazioni di mastering, ad un certo momento occorrer\u00e0 effettuare le operazioni di editing, qui intese essenzialmente come montaggio audio, ovviamente da applicare ai mix finiti e, in certi casi anche ai loro stems. Tali operazioni si svolgono essenzialmente coi comuni comandi di \u201ctaglia\/copia-incolla\u201d e per mezzo […]<\/p>\n","protected":false},"author":1,"featured_media":408,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,16],"tags":[],"class_list":["post-404","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio","category-audio-mastering"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts\/404","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/comments?post=404"}],"version-history":[{"count":0,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts\/404\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media\/408"}],"wp:attachment":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media?parent=404"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/categories?post=404"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/tags?post=404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
Cutting, silencing, fading<\/h2>\n
Start Cutting <\/b><\/h3>\n
![\"\"](\"https:\/\/alessandrofois.com\/wp-content\/uploads\/2025\/06\/Screenshot-2024-02-20-alle-18.24.12.png\")
<\/p>\nStart Silencing<\/b><\/h3>\n
Start Fading <\/b><\/h3>\n
![\"\"](\"https:\/\/alessandrofois.com\/wp-content\/uploads\/2025\/06\/Screenshot-2024-02-20-alle-18.25.37.png\")
<\/p>\n\n
![\"In](\"https:\/\/alessandrofois.com\/wp-content\/uploads\/2025\/06\/Screenshot-2024-02-20-alle-18.25.59.png\")