5. Hip-hop mastering. This style is quite loud that’s why the goal of your edm mixing service is to squeeze all the potential of loudness from a song. The main thing is not kill track dynamics for good as the issue of groove remains not less important, this is the basis of rap and hip-hop music. Once you flatten the track as ever you could, you’ll get a lifeless and uninteresting sound. Furthermore, this sound often strains listener’s ears. It’s hardly what you would like to. It’s by far more sensible to get the track for super loud sound at the stage of creating mix. Whereas mixing through a limiter/clipper is a wonderful solution. It’ll give you an opportunity to feel at the beginning how the song will sound at the end. And taking account of quite a powerful sound of the song in the area of bottom ends as stated in item 2, mixing rapmusic with an adjusted limiter (even if it’s a rough version, “semi-mastering”) will allow you to be more precise in solving issues of compression in particular bass sounds sidechain compression. By no means I don’t want to underestimate the work of mastering engineers, quite the contrary – while estimating a track in such a way, you will help them out with achieving the best results. In the end all will benefit from it.
6. It would be a good thing to go by commercial CD during work at mixing studio. However, this recommendation is rightful not only for rap/hip-hop music, but also for any other styles. Select some tracks which are the closest to you in sound and at times compare your result with their sound. In such a simple way it’s quite often easy to find minor errors in mastering chain and estimate whether there is enough loudness at the output or it still needs pushing.
Tips described above are widely used in our demos of professional music mixing work.