FIRESONIC FireMaster

t’s been said countless times, within these hallowed pages and beyond, that audio mastering is a dark art whose mysteries are hard to fathom and even harder to, well, master. Part of those mysteries arise from the moving targets that mastering engineers are forced to aim at, with every piece of music requiring its own bespoke solution. The tools and processes you use are entirely dependent on the nature of the material being mastered, and the way you use those tools varies depending upon the exacting requirements of the situation. In short, hard-and-fast rules are few and far between, and any rules that do exist have to be flexible enough to be moulded and shaped to fit the scenario that’s in front of you. The list of possible variables is practically