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Additionally, knowledge sharing helps to build a sense of community among sound engineers. When we collaborate and work together, we can create something extraordinary that we couldn’t achieve on our own. Whether it’s troubleshooting a problematic issue or brainstorming creative solutions for a project, having a network of knowledgeable colleagues to rely on is invaluable.

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I agree with the previous comments : mixing (with access to all tracks) is way more flexible than Mastering, and should be prioritized.

I also like mixing using BACK and FORTH : I often start a mix by solving the main issues I AM SURE OF : Low filtering what can’t be heard, resonances, dynamic control and a tiny but of tone shaping (but not much).
From there, I do a “fake” mastering using temporary effects on the master (EQ and compression) and using references. It usually gives me a good overview of what is missing. For instance : lack of 1dB at 1k on the bass, a bit of muddiness between drums and vocals at 150 Hz, and lack of compression for the vocals.
Then I ‘save as’ a new version of the projects and correct the issues.
Then I do this procedure again : a fake master, and I correct the issues.

This iterative process is half-way between what people call “top-down” mixing and “traditionnal” mixing. Doing this fake mastering 2 times is usually enough to get where I want my mix to be. I also split this usually in 3 separate session (for the 3 steps.)

100% truth.

Hire a mastering engineering if you can afford it, regardless.

If you can’t though (like most of us here I’d guess), getting better at mixing is the one true solution to getting good masters, where mastering is either going to be doing nothing at all, or just pushing through a tiny byt of compression/limiting/clipping.

Keeps things simple, and lets you focus on what really matters: the source material!

Agreed. Applying mastering to an ongoing mix can really help reveal and understand problem areas. I don’t separate mastering at all from mixing for that very reason. You can put your master fx on the master bus, A/B with or without mastering chain AND A/B to a reference track as well super easily.

Even if you end up creating a separate session for mastering this can teach you so much about sound as a beginner.

This. Listeners don’t know, don’t understand and don’t care if your music is mastered. Just get good at producing and learn mixing.

“the best mixes don’t need mastering” – Bob Katz

I have released hundreds of tracks which were not only NOT mastered, they had literally NOTHING on the master buss. And yes, they were ‘commercial level’ .

If you can train your ears to get close a mastered track in your mx session without relying on the crutch that is post processing then you’ll learn far more about sound, arrangement, and even composition than thinking one day that track your not happy with might get improved by some magical mastering session.

Also: Listen to lots of references, to keep your ears from getting too used to the sound of the track you’re working on.

If not on a strict deadline, sit on finished pieces for a week at least and listen again with fresh ears before releasing.