But don't let that stop you from experimenting with mastering, because oftentimes there are a lot of improvements you can do on your own. To quote the legendary engineer Joe Meek, "..if it sounds right, it is right." So, if you're the experimental type and you feel that you're up to the task of mastering CDs in your home studio, here are some of the key elements that you'll need to take note of if you want to produce a good final master:

(Oh and by the way, the above link to Mastering Audio: The Art and Science is there for a reason. This book is the best reference guide you'll find... It'll explain anything you need to know about mastering, in simple and understandable terms. If you're going to be mastering CDs you should keep this book handy; you may need it at some point.)

Mastering CDs requires very accurate full frequency monitors. CDs can reproduce audio from 20 Hz to 20 kHz, so if your monitors roll off at 60 Hz you could have some unpleasant surprises when you listen to your CD on a full frequency system.

Bottom line; your final master will only be as good as the monitors you're using. You can buy monitors that make your mix sound great, but if they’re automatically enhancing the sound in any way, (like boosting bass levels, like so many monitors out there do,) it’s not helping you; it’s only hurting you in the long run. All you can do is process the sound according to how you’re perceiving it, and if you’re using monitors that aren’t giving you an accurate representation of that sound, then you can only guess as to what needs tweaking and adjusting inside the tracks. As a result, your final master will oftentimes be uneven and completely different from what you heard in the studio when you listen to it on any other speaker system. So don’t waste your time with monitors that enhance your mix in any way. It only messes with your perception and gives you a completely false reading of the mix.

Recommended Monitors:
If you're on a tight budget, the M-Audio BX5 Studio Monitors perform surprisingly quite a bit better than a lot of higher priced monitors. They're accurate and small enough that they can fit just about anywhere.

If you live in an apartment, or where it's not practical to be blasting your tracks through monitors, then get the Sony MDR7506 headphones. These are extremely accurate and long-lasting headphone monitors, and they're used in numerous high-end studios. They're also affordable.

Equalization is used while mastering CDs to balance the overall sound. When adjusting EQ, remember that increasing or decreasing one frequency range changes our perception of contrasting frequencies; if you boost frequencies in the lower midrange (around 250 Hz) we perceive a reduction in the frequencies around 5 kHz. Smoothing out harsh sounds can be accomplished by either reducing the offending frequencies or by boosting the contrasting frequency range. And typically, a small adjustment in one range usually requires further adjustments in other ranges during mastering.

As a general rule, just try to use EQ for obtaining a “natural” sound while mastering CDs. It can be used to gently roll off the high frequencies and to even out the midranges. Equalization sounds the most natural when using a Q setting of between 0.6 and 0.8, but it can also be used with a higher Q setting to remove unwanted frequencies. Using EQ in the same manner on both channels maintains the stereo balance, but single channel EQ can also be useful for dealing with isolated problems in the stereo field.

Compression is largely misunderstood and overused when mastering CDs. Compression is added to deliver consistency throughout mixes. Through creative compression, you can make the soft passages louder and the loud passages softer.

Compression along with limiting (see below) reduces the dynamic range of the music when mastering CDs. It can be used to bring up low and mid level dynamics making the overall mix louder. If overused however, compression has the effect of evening out all dynamics thereby killing rhythmic accents. Oftentimes, a small amount of compression will bring out secondary beats just enough to add extra dimension when mastering CDs.

Be careful adjusting attack and release times. Improper settings can change the sound of the music and add distortion when mastering CDs. To find a good setting, start with a low ratio and slow release time. Slowly increase the release time from about 250 ms while adjusting the threshold until the threshold is between the high and low dynamics. If the threshold is too low or the ratio too high the dynamics will be flat, so experiment a lot while mastering CDs with compression.

Limiting reduces peaks in the audio signal allowing you to raise the overall loudness of the track when mastering CDs. Used with a fast attack and release time it can bring up sound levels without distorting or bringing along unpleasant “baggage.” As with everything else, you have to take care not to overuse a limiter. When it's used too much, it can create a tiring effect on the listener because the audio levels are so constant.

It's important to note that if you know what you are doing you can get by without using a limiter in some situations. Since this process is not always transparent to the mix, it is sometimes necessary to limit peaks through editing and compression rather than a limiter.

Sound processors are like seasonings; a little can go a long way. Of course everyone has different tastes and preferences, so some prefer to dump compression all over a mix, while others prefer to barely use it at all. Overloading your tracks with any kind of sound processing is never really the best way to go, unless you're experienced enough to know how the final master will sound, or unless of course you're going for a specific special sound effect. But be discerning about what processing you toss into the mix, because a lot of things that sound great on beautiful monitors in the studio sound simply horrible in mono (radio) or on lower end sound equipment like boomboxes and $15 headphones. (If you're selling your albums and people are buying them, you have to consider all the types of sound equipment that your CD will be played on. Keep this factor consistently in mind when mastering CDs.)

As mentioned before, there are many reasons to not to do your own mastering. One of the biggest factors is the loss of perspective that inevitably follows the weeks or months of working on the same material. If you're under pressure to get your album manufactured or uploaded online, you should send it to a mastering engineer and avoid potential problems. However if you're intent in mastering CDs on your own, wait a week or two after mixing before you begin your work. This will allow you to give your ears and your brain a rest. You may not think you need it, but it can make a very big difference. While you're taking a break, listen closely to other CDs that you want to emulate. Pick up your favorite band's album and listen to how much "punch" there is in the kick drum, or how much stereo depth there is in the rhythm guitars... Take your time and disect aspects of the sound. All of this is crucial to forming a model of what you want your final master to sound like when you're mastering CDs on your own.