Is there a reason to "master" on a 1 track file istead of a multi-track file

Hi there,
I'm at the finishing stage of a song.  I've taken all of the individual parts from my recording template, bounced them down appropriately to a mixing template.  My question is, is there anything to be gained by bouncing everything down again to 1 track in order to apply the last stage of processing, which for me is Ozone.
 
Thanks - DG

I look at it as having more than one track, there is a risk you are starting to mix again.

If you are disciplined I see no reason to bounce further.

But there is one thing about mastering that is to match different tracks in audible level and such that makes it more difficult to run many larger projects amd switch in between.

I even prefer doing external 24bit export and import them as single tracks. Having Sonar allowing multiple projects you can then easily switch between them and run and compare etc.

With small singletrack projects that is no problem at all.

Then doing final mixdown I apply dither and all that stuff for extra shine.

If you choose to separate your mixing and mastering processes (which is the classical approach) it is important to keep in mind your destination at every step you bounce.

At each step you should bounce at the highest quality your destination software/device can handle.

• Recording should always be done at 24-bit, not 16
• Bouncing a mix that will go to a separate application or project should be done at the highest bit-rate that project or application can accept. In most cases this will be at least 24-bits
• Dither is confusing
  • It should always be the last thing you do
  • It should not be done multiple times. It is technically adding noise to the signal so go easy!
  • It should only be done when you will be reducing your bit rate (i.e. from 24-bit to 16-bit)
  • The reason for dither is that it enables the lower bit rate you are moving to to more accurately understand and capture information at low volumes. You will notice dither/lack of dither only when things are very quite, like when an instrument hits a note and lets it ring out to silence, or when you perform a fade. A recording at 16-bit that was originally 24-bit and dithered properly will stay smooth and clean, maintaining detail further into the fade. A recording that was originally made at 16-bit or was originally 24-bit then truncated without dither will not capture as much detail here and the fade will not appear as smooth for as long
  • Care should be taken if you need to convert sample rates (i.e. from 48kHz to 44.1kHz or from 96kHz to 44.1kHz. Not all sample rate conversion is equal. If you care about quality it would be worth your time to read up on it and potentially purchase a better SRC tool. Voxengo's R8brain is an excellent one that isn't too costly. It is definitely better than the SRC in earlier versions of Sonar; I haven't compared it to Sonar's SRC in years, so take this with a grain of salt. R8brain is also better than the built in SRC in CD Architect

As a general rule I will always bounce to a mastering session/application in at least 24-bit, without putting a limiter or heavy compressor on the master buss before bounce, and with 6dB or so of headroom (which will make mastering easier.)

When done tweaking the master and preparing to burn to CD I will reduce the file to 16-bit and dither at that time, after all other FX, volume envelopes, fades, limiters, etc. have been processed.

I hope this helps!

Peace,

Tunes



When bouncing a mix that will be opened in a separate application or project for mastering, this should be at least 24-bit audio (assuming that was what was re

I master separately, mainly so i'll have to stop going back and adjusting things relentlessly.  At some point one just has to say 'stop' and move on...