I know from reading the forums here and from various conversations that Mastering is indeed an integral, albeit misunderstood, stage in producing a high quality LP. So in the spirit of demystification, I want to ask a few pointed questions, bearing in mind of course that any answers given may be subject to taste and producers'/artists' wishes. Rod Gervais said (in the "disappointed" topic here) While I'm not sure if this comparison is completely accurate, but it certainly gives me a better idea of where to start: 1. How do the "brushes" of a mastering engineer differ from the "brushes" of a mixing engineer? Put another way, how are the tools different? For example, could I (if I were a mastering jedi) use the same compressor the mixing engineer used but in a different context? 2. What are some of the typical jobs/tasks that have been done to make music "radio-friendly" for a typical rock act? A typical R&B act? If you still think this is too broad, then please give some details on what you have been asked to do. I know every project/artist is unique, but only to a certain point.... 3. What kind of challenges have developed in mastering music to SACD or other 5.1 formats? For example, the 30th Anniversary of Floyd's DSOTM. It was re-mastered (again) and the stereo version sounds great (I haven't actually heard the 5.1 version yet - no player :roll: ), but I don't know why it sounds great in a different way than the 20th Anniversary version. I know there's a lot to cover here, but please try your best, pick and choose, whatever you like, and I'll thank-you in advance for your time, knowledge and expertise.